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by
Alex Reed
This article is
meant to explain and clarify what you can expect, both creatively
and financially, from hiring a producer to assist you in your
goal.
One of the ways
a producer can be most useful to you is by providing an objective
ear. In the studio, it can be difficult to gain perspective
as you create. A typical example is vocal performance. Your
producer can recognize if you need to try it again and guide
you through phrasing, pitch, emotion, etc. A good producer
will also know to stop you when you've nailed it.
But don't think
of a producer as some uninvolved bystander. They can be your
partner in the studio, arriving at the ideal guitar sound,
finding the right tempo, choosing the sweetest harmonies.
Involve them early in the process by inviting them down to
rehearsal. This gives you a chance to see if this is the right
producer for you. It also allows you to avoid certain problems
later on. For example, the band might be convinced which three
songs out of ten should be recorded for a demo. At rehearsal
a producer can bring a fresh perspective on which songs will
work best.
The organizational
skills of the producer should also be considered, as even
a simple demo can present all sorts of logistical nightmares
to the inexperienced artist. Someone needs to find the right
studio and engineer, assemble musicians, and negotiate the
rates for each. Whether you've secured a $20,000 loan from
a wealthy fan or scraped up $1500 on your own, every penny
counts. Someone needs to keep one eye on the budget while
keeping the other eye on the musical "big picture." You may
have the talent and willingness to do all this yourself. One
question to ask yourself is, "Do I want to put all my energies
into logistics to the possible detriment of my songs?" For
some artists, the answer is "yes, I'll do it myself." And
I say all the power to ya. But while I can't speak for other
producers, much of the pleasure I get out of a project is
creating a situation where the artist can focus solely on
the music.
So maybe you like
the idea of getting assistance, but don't know if you can
afford it. Budgets are obviously less complicated for a self-financed
recording than for a major label record, (as discussed in
the Mumbo Jumbo column), but you'll still want to work out
an agreement with your producer before you begin.
In any scenario
involving payment after the project is finished, I strongly
urge you to put it in writing. This can be more complicated
than it seems. The trick is to arrive at a document that is
neither overwhelming and unnecessary (25 pages of legalese)
nor flimsy and worthless (two paragraphs that would be laughed
out of court by any serious attorney). A well written 1-3
page "deal memo" is sufficient; typically it is the producer's
responsibility to present a first draft. The agreement is
more for their protection than yours.
The main idea
I want to leave you with is to be clear from the start about
what you expect from your producer and know what they want
out of the project as well. Don't be afraid to ask pointed
questions like, "How many days will the whole thing take?"
and "Why do you want to work with me?" If the relationship
begins with elements of honesty and trust, the recording will
be that much more successful.
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