The Art of Producing

How to Create Great Audio Projects

David Gibson, Maestro Curtis

• Publisher: Routledge
• Year: 2019
• ISBN:
  9781351252447
• Edition: 2
• Topic: Technik & Maschinenbau
• Subtopic: Akustiktechnik

The Art of Producing is the first book to standardize a specific production process for creating a successful music project from start to finish. Learn how to develop a step-by-step process for critiquing all of the musical components that go into creating a highly refined production that works for all styles of music. The book provides a well-rounded perspective on everything that goes into producing, including vital information on how to creatively work with bands, groups and record companies, and offers insight into high level values and secrets that famous producers have developed through years of trial and error. The book covers detailed production techniques for working with today's latest digital technologies including virtual recording, virtual instruments, and MIDI tracking. Take these concepts, adapt them to your own personal style and you will end up with a successful project of the highest attainable quality with the most potential to be become a hit – or just affect people really deeply.

PART 1

The Producer’s Job

Chapter 1: Types of Producers and Productions

Someone produces all records, whether it’s an engineer, the band, or a record company staff producer.

During the ’40s, ’50s, and early ’60s, the term producer referred to the person who would basically oversee a song or an album. For the most part, the producer’s job was simply to keep the band on schedule. However, some producers acted as the eyes and ears for the record company, and sometimes they would also act as cheerleaders, making sure the band was comfortable. Some producers who had developed connections with record executives expanded their jobs to include finding talent and shopping record deals. These individuals called themselves record producers.

The job of the producer has now expanded so that he or she is the overseer of quality at every level of the project. But most important, a producer makes sure the overall final product is as perfect as possible. In the old days, the band or recording artist produced without even knowing it, and they never received any credit.

In music production, the goal normally is to produce quality music that will either become a hit or change the world. Today’s producers have become the quintessential factors in assuring an album’s success. They are often responsible for whether a song, album, or artist will become a hit. Besides overseeing the quality of every component, today’s producers often come up with the music. But most importantly they provide an overall energy or vibe to the whole project. It is a cohesiveness that is conceptualized and applied throughout the entire project. To get even more out there, it is an energy or intention that is often carried along on top of the project. It is an invisible essence that people often hear coming through in a song – whether they are aware of it or not. The role a producer plays in a project has become more important than the artist’s role, as if it is the producer who makes the artist! What a flip of the script!

Once the producer is a hit, any artist that attaches himself or herself to that producer is likely to be a hit in today’s marketplace. In today’s world, a successful producer can help make a hit by simply endorsing an artist. This was the case when Kenny Loggins endorsed Michael McDonald. Producers such as Wyclef Jean (Wu-Tang Clan and Lauryn Hill), Kedar Massenburg (D’Angelo and Angie Stone), Bob Ezrin (Pink Floyd), Quincy Jones (everybody), Maurice White (Earth, Wind & Fire, Johnny Mathis, and Barbra Streisand), and Narada Michael Walden (Mariah Carey, Aretha Franklin, and Whitney Houston) have developed such notoriety.

Types of Producers

Producers have evolved into three main types: executive, engineering, and music. However, the job of producer is often misunderstood, and most people really aren’t clear about what the job entails. The jobs often overlap and the roles are sometimes quite fuzzy. Producers will often oscillate between the different roles, depending on whichever one is necessary.

Not only do the types of producers overlap, but often the jobs of producer and engineer overlap. Sometimes the engineer or the band might take on some of the functions of producer, and the producer often helps with many aspects that would traditionally be thought of as engineering tasks. For example, producers might help with sampling, sequencing, and looping. Often they get their hands in on a mix. All of these are engineering tasks. In this book I will try to draw the line at the point where producing becomes engineering because there are very good books out there that deal with everything that goes into recording and mixing (including The Art of Mixing by David Gibson).

Likewise, engineers commonly function as producers, but no one likes to admit it because then the engineers might ask for more money, royalties, and credits on the album. The truth is that anyone who is making some type of decision regarding the quality of any part or performance in a recording session is really producing.

The producer’s job is one of the most important in the recording process. Therefore, it is also the highest-paid job. If Bob Ezrin were to produce the next Pink Floyd album, the record label would probably give him a sizeable advance before he even went into the studio. For the last Pink Floyd album he produced, it is likely that he received seven figures! You know Quincy Jones is set, also. He probably made more than $10,000,000 just from the Thriller album alone. It is safe to say that if you get a Top Ten hit as a producer, you are set for life. On the other hand, most engineers don’t get any royalties for engineering; they simply get an hourly rate. Eddie Kramer made only about $35 per hour for engineering most of Jimi Hendrix’s stuff.

Executive Producer

The executive producer (EP) is responsible for funding, and may also be responsible for organizing a project. He or she might even be responsible for hiring a music or engineering producer for the project.

The individual with the money will often finance a project out of his or her own pocket. The EP is convinced that the artist and product are worthy of investing time and money into, with the sole purpose of reaping the benefits of lucrative record sales and a healthy return on his or her investment. Make no mistake – it is a business! This type of EP may also handle budgets and schedules.

Another type of executive producer is a spokesperson for a record company or a group of investors who fund projects. This type of producer is also responsible for managing budgets and may occasionally schedule the entire process. They generally keep the interests of the record company first and foremost in their minds.

The most common problem arises when whoever is funding the project has no aesthetic sense of the meaning of great art. The worst case is when you have an executive producer who knows little or nothing about music but who wants to start guiding the creative outcome just because he or she is paying for it! Of course, this can become a nightmare, especially when the producer knows only enough to be dangerous! Not only do these types of producers know diddly about music, they often don’t have the diplomatic skills that are so important for effective producing.

This is not to say that EPs might not have hearts. In fact, some might even have very refined values when it comes to great art. It is important to get to know your EP as much as possible. If he or she is available, try to develop a close connection. By getting to know your EP and learn his or her values, you often can create a stronger bond that can aid you during rough times. Also, when you learn where this person’s values lie, you know where he or she stands if you ever need to put your foot down.

From the other side of the fence, if you are functioning as the executive producer and you have certain wishes, it is better to outline your concerns in writing at the beginning. It can keep you from having to deal with some nasty confrontations later. And the truth is, as will be discussed later, if you have some refined aesthetic sensibility, paying for a project might be an avenue to obtaining your first job as a producer. Many studio owners use studio time as an enticement to obtain the job. All producers have to start somewhere.

Music Producer

Music producers spend most of their time focusing on the music, arrangement, and execution. A music producer arranges the music and often helps to write some of the parts. Sometimes music producers start out as songwriters who have studied music theory and end up with degrees in music or theory; however, some people are born with the knack for arranging. (The latter is not terribly common, though; most music producers have strong backgrounds in music theory.)

In an interview years ago, the band Rush explained that they had just fired their producer because he couldn’t keep up with them musically. (Rush’s music has always been on the cutting edge when it comes to music theory.) They said they had just hired a real music producer who could help them arrange the parts and who could keep up with them musically.

A music producer can know very little about the mixing board and studio equipment and still be very successful. In fact, we have met a number of major music producers who were not familiar with many of the technical aspects of the equipment. However, a good producer knows to hire a great recording engineer.

I know everything there is to know about engineering; just ask my engineer.

—Sonny Limbo (Bertie Higgins, Gladys Knight and the Pips, and Alabama)

During a recording session, music producers often are known to spend most of their time with headphones on out in the studio with the band, working out musical ideas.

Besides simply being able to arrange and rearrange music, a music producer needs to know how to work with musicians who have different levels of expertise. Within a single band there are often musicians at different levels. One of the keys to being a great music producer is having the ability to change someone’s music and not upset him or her. As you can well imagine, most people are really touchy about their music, especially when someone is rewritiing or reworking it. It is critical to make suggestions with total respect toward what the musicians have already created. You need to get to the point where you can rewrite a band’s song and have them totally love it. To do this, you must also be able to gauge whether the musicians will be able to play a particular musical part that you come up with.

Although this book will prepare you for the basics of becoming a music producer, you might consider taking some courses in music theory to add to your knowledge. Many famous producers regret not having gone to school to learn music theory from scratch.

Engineering Producer

The engineering producer’s primary job is to monitor the quality of every aspect of the project and make sure it comes out as good as possible. They sometimes also help organize the project. The engineering producer often starts out as a recording engineer, and then moves on to actual producing. Alan Parsons of Pink Floyd’s Dark Side of the Moon fame started out as an engineer. Likewise, Eddie Kramer (of Hendrix and Led Zeppelin fame) started out as an engineer and later moved into producing. Through the years, Eddie has developed many useful skills as a music producer.

If you have a background in recording engineering, it is relatively simple to move into the position of producer. By the time you finish this book, you will have enough knowledge to produce a group.

Associate Producer

An associate producer is an associate of the executive producer and is there to act as the eyes, ears, and mouth of the EP in his absence. Occasionally, a recording engineer is given this position. He then receives credit (and occasionally royalties) as a producer on the project.

Assistant Producer

An assistant producer is often hired by the producer to do all types of tasks, which could include many of the administrative jobs typically done by an executive producer. The assistant might make progress reports to the record company. But most importantly, the assistant producer is involved enough in the project to take over in an emergency. Occasionally, a recording engineer will be elevated to the level of assistant producer, especially if the producer has to leave for short periods of time.

Overlapping Job Roles

As previously mentioned, the lines of demarcation are not set in stone. The executive producer might get his or her two cents in as a music or engineering producer. A music or engineering producer might kick in some money to help finish a project he or she believes in. Occasionally, an assistant producer might fill in as the primary producer. A producer might end up writing the music, completely rearranging it, and may function as a musician and play a part in the project. For example, Bob Ezrin played many of the keyboard parts for Pink Floyd.

Also, musicians in the band will commonly make production comments and suggestions. Today’s producer role seems to have taken on a much broader, yet still intricate, responsibility in ensuring the success of a quality musical presentation.

What It Takes and How to Get the Job

When you finish this book, you will know how to produce – and how to do it quite well. How...