Definition of a "Producer"
SKWPA
I get the impression bands wouldn't want some producer telling them how
their music should sound. But then again, maybe a producer is hired to
achieve a certain sound which that producer is known for. And it seems
that producers are sometimes hired for their reputation or name, which
may give a specific project some extra pull, etc. Like to say, "Steve
Albini produced our record." is potential selling point to a label, and
possibly a privledge to an unknown band...
How would you define "producer"? What would you say it is that a
producer actually does? What is specific role of producer in the
process of getting a song or album done?
How would someone go about becoming a professional producer? That is,
be hired to "produce" - for pay, or not. For instance, someone may not
be a musician, or a board engineer, but knows how things should sound
(to achieve an agreed end). I would suppose that is a producer.
Robert Mashlan
SKWPA <d...@xa.ev> wrote:
>I get the impression bands wouldn't want some producer telling them how
>their music should sound. But then again, maybe a producer is hired to
>achieve a certain sound which that producer is known for. And it seems
>that producers are sometimes hired for their reputation or name, which
>may give a specific project some extra pull, etc. Like to say, "Steve
>Albini produced our record." is potential selling point to a label, and
>possibly a privledge to an unknown band...
>
>How would you define "producer"? What would you say it is that a
>producer actually does? What is specific role of producer in the
>process of getting a song or album done?
I'm not sure why you are posting this to alt.music.techno. With
techno, most of the musicians are their own producers.
>How would someone go about becoming a professional producer? That is,
>be hired to "produce" - for pay, or not. For instance, someone may not
>be a musician, or a board engineer, but knows how things should sound
>(to achieve an agreed end). I would suppose that is a producer.
I think producers are usually born, not made. If you've grown a home
studio around yourself, have all kinds of audio gadgets everywhere, I
think you are probably a producer.
The incredible
In article <6d02ub$gmg$1...@uuneo.neosoft.com>, SKWPA <d...@xa.ev> wrote:
> I get the impression bands wouldn't want some producer telling them how
> their music should sound. But then again, maybe a producer is hired to
> achieve a certain sound which that producer is known for. And it seems
> that producers are sometimes hired for their reputation or name, which
> may give a specific project some extra pull, etc. Like to say, "Steve
> Albini produced our record." is potential selling point to a label, and
> possibly a privledge to an unknown band...
>
> How would you define "producer"? What would you say it is that a
> producer actually does? What is specific role of producer in the
> process of getting a song or album done?
>
> How would someone go about becoming a professional producer? That is,
> be hired to "produce" - for pay, or not. For instance, someone may not
> be a musician, or a board engineer, but knows how things should sound
> (to achieve an agreed end). I would suppose that is a producer.
I Think (read carefully.. I THINK) a producers job is to coordinate all
the participants in a recording (that means making of a song).... His job
is to get the best out of everybody (including himself if he is playing
some instrument, singing or programming or whatever) so that the result
has a maximum level of quality. It is the producers job to take the
responsibility of telling people when they are doing a bad job. If
something is missing in the studio, it is the producers job to get that
thing or get something that does the same job. He should be making the
situation suitable for all the creative parts (sometimes that includes
himself).
I think I am a producer too... (still a loooooooot more to learn though).
Navid.
--
***************************************
Navid "The incredible" Gondal
Incredible Productions
E-mail: nav...@online.no
Voice: +47-920-13456
+47-22-425554
Fax : +47-920-71456
Web-site: http://home.sol.no/navidg/incredible.html
***************************************
SEFSTRAT
<<How would you define "producer"? What would you say it is that a
producer actually does?>>
Besides supervising the mix, which DEFINES the sound.....
For me personally, when cutting tracks, the single most important thing a
producer does is tells me when to STOP. "It's fine, LEAVE IT".
Producer styl;e varies. Some control, others facilitate. Some are passive,
others aggressively act as musical directors. Some supply gear to acheive a
certain sound. Styles are as diverse as people...
SEFSTRAT
Kamchak Tuchuk
On 25 Feb 1998 15:36:44 GMT, sefs...@aol.com (SEFSTRAT) wrote:
><<How would you define "producer"? What would you say it is that a
>producer actually does?>>
>
>Besides supervising the mix, which DEFINES the sound.....
>
>For me personally, when cutting tracks, the single most important thing a
>producer does is tells me when to STOP. "It's fine, LEAVE IT".
I think a producer is the "objective" voice. He's the one to stand
back from a tune and see the big picture. Sometimes musicians can get
caught up in what they played, how well they played it and what kind
of sound they're getting. A producer should see through all that and
bring the tune together. Hopefully.
STRATQUEEN
Kamchak Tuchuk wrote:
<<I think a producer is the "objective" voice. He's the one to stand back from
a tune and see the big picture. Sometimes musicians can get caught up in what
they played, how well they played it and what kind of sound they're getting. A
producer should see through all that and bring the tune together. Hopefully.>>
IMO, the consummate genius in terms of "producers" is Quincy Jones.
Slide on........
<A HREF="http://members.aol.com/STRATQUEEN/index.html">Stratqueen's Page</A>
**************************************
Sharon L. Demmerlé, Esq.
Demmerlé Law Offices, P.L.L.C.
Post Office Box 688
Manchester, NH 03105-0688
SKWPA
I think that's a good description.
Giri
STRATQUEEN wrote:
> IMO, the consummate genius in terms of "producers" is Quincy Jones.
I don't want to get into the details, but just don't
say that on rmb or rmmgj, okay? You'll get flamed
clear into outer space. Quincy is/was quite the
evil influence on many an album.
..Giri
--
e-mail: giyengar "at" ford "dot" com
Harvey Gerst
SKWPA <d...@xa.ev> wrote:
>How would you define "producer"? What would you say it is that a
>producer actually does? What is specific role of producer in the
>process of getting a song or album done?
You've already received some pretty good answers to your questions, so I'll just
try to add to what's been said, rather than repeat anything. There are really
two kinds of producers - producers that work for the record label directly, and
independent producers (that are hired for a specific album).
All producers have similar responsibilities to the record label - bring the
project in within the budget, and get as many hits as possible out of the album.
The producer is there primarily acting as the record company's representative,
but a producer also has a responsibility to help the artists achieve their best
performances (keeping in mind the first two responsibilities, budget and hits).
A producer will usually have a great deal of expertise and a track record of
producing hits. That's why people like Steve Albini or Don Was get the big
bucks.
>How would someone go about becoming a professional producer? That is,
>be hired to "produce" - for pay, or not. For instance, someone may not
>be a musician, or a board engineer, but knows how things should sound
>(to achieve an agreed end). I would suppose that is a producer.
There are many roads to being a producer, grasshopper. Some have an extensive
musical background, some come from engineering, and some (like Paul Rothchild)
were accountants. The common denominator seems to be a large degree of "people
skills" - how to get everyone headed in the same direction, plus a good ear for
a hit.
Harvey Gerst
Indian Trail Records
http://www.ITRstudio.com/
STRATQUEEN
<<I don't want to get into the details, but just don't
say that on rmb or rmmgj, okay? You'll get flamed
clear into outer space. Quincy is/was quite the
evil influence on many an album.>>
Define "evil" (via private e-mail if you like). If my memory serves me
correctly, he has producer credits on some of the best and most critically
acclaimed albums. Barry Gordy of Motown, as well.
Greg Peterson
SKWPA wrote:
> How would you define "producer"? What would you say it is that a
> producer actually does? What is specific role of producer in the
> process of getting a song or album done?
By analogy, the producer in the recording biz has the same job as the
director in movies.
--
Greg
Greg Peterson
Giri wrote:
>
> STRATQUEEN wrote:
>
> > IMO, the consummate genius in terms of "producers" is Quincy Jones.
>
> say that on rmb or rmmgj, okay? You'll get flamed
> clear into outer space. Quincy is/was quite the
> evil influence on many an album.
>
I agree Giri, QJ is Mr. Drum Machine (seriously). He might be a genius
pop producer, but Yikers!
--
Greg
GeoMac
Greg Peterson wrote:
>
> By analogy, the producer in the recording biz has the same job as the
> director in movies.
>
Which is not the same job as a producer in the movies. A good line from
an upcoming bad film about the movie biz: "I'm a producer not a
pimp...There IS a difference".
pH
Andrew P. Mullhaupt
STRATQUEEN wrote in message
<19980226014...@ladder03.news.aol.com>...
>So give me an example of one of your favorite *great* producers of music
with
>emphasis on guitar. I'm curious now......
There is really only one answer to this question: Lowell George.
Later,
Andrew Mullhaupt
Alec Horgan
In article <19980226004...@ladder02.news.aol.com>,
sefs...@aol.com (SEFSTRAT) wrote:
> <<I don't want to get into the details, but just don't
> say that on rmb or rmmgj, okay? You'll get flamed
> clear into outer space. Quincy is/was quite the
> evil influence on many an album.
> >>
>
> So some say. Personally, I think it's jealous crap.......
Why would Giri be jealous of Quincy Jones?
> listen, for instance,
> to the production on "Just Once", with James Ingram singing.
>
How does one example (appropriately titled) of good production
refute the statement "Quincy is/was quite the evil influence on
many an album"?
"We own the world, we are rich bastards
We are the ones who ride in limousines and don't pay taxes.
This is crap we're singing, we're stoned out of our minds
We didn't even bother to make it rhyme...la da da"
--the verse John Wesley Harding had to omit from "July 13,
1985" in order to avoid being sued by QJ
Alec
--
Interviewer: Do you think you could have achieved more?
Alex Chilton: Perhaps, but what would I have achieved it for? I can't think of any reason to achieve anything.
SKWPA
Great advice.
SEFSTRAT
<<I don't want to get into the details, but just don't
say that on rmb or rmmgj, okay? You'll get flamed
clear into outer space. Quincy is/was quite the
evil influence on many an album.
>>
So some say. Personally, I think it's jealous crap.......listen, for instance,
to the production on "Just Once", with James Ingram singing.
Steve
SEFSTRAT
STRATQUEEN
Greg wrote:
>>I agree Giri, QJ is Mr. Drum Machine (seriously). He might be a genius pop
producer, but Yikers!>>
The topic was the definition of a "producer", not a producer who is known for
guitar work. And Giri's comment was based on QJ allegedly being "evil", not
the *type* of music he produces.
So give me an example of one of your favorite *great* producers of music with
emphasis on guitar. I'm curious now......
Slide on........
RJClayton
Alec Horgan wrote:
>"We own the world, we are rich bastards
>We are the ones who ride in limousines and don't pay taxes.
>This is crap we're singing, we're stoned out of our minds
>We didn't even bother to make it rhyme...la da da"
> --the verse John Wesley Harding had to omit from "July 13,
> 1985" in order to avoid being sued by QJ
>
sufficiently libelous, slanderous, or specifically about Quincy Jones in that
verse to cause anyone to sue. If QJ was the producer, and told the singer not
to include it, it's an artistic statement, and an artistic disagreement. Now,
if the rest of the song was specific enough in characterization (I'm not
familiar with the song, nor the singer, nor Quincy Jones, for that matter),
then that verse MIGHT just barely have been "enough" to spark a nuisance suit,
but I truly doubt it.
Sounds like the same crap I've read about "American Pie," that Don McLean won't
say what it means 'cause he'd be sued (by the Stones, the Beatles, Nixon,
etc.), to which I reply, "Bullshit!" Public figures, and that would include
Quincy Jones, can be libeled or slandered, but it's gotta be pretty outrageous
to meet the standard of the law. Just more urban folklore, I'd say.
Bob (not slanderous, just ponderous) Clayton, Sr.
Home of the Songster at <http://members.aol.com/rjclayton/>
If I'd known I was gonna live this long, I'd have taken better care of myself!
William G. Sacks
STRATQUEEN (strat...@aol.com) wrote:
: So give me an example of one of your favorite *great* producers of music with
: emphasis on guitar. I'm curious now......
The "old school":
George Martin, who produced the vast majority of Beatle records-
he was one of the first to capture "musical" electric guitar feedback on
tape, and he quite literally sat down with John Lennon and invented what
we now call "flanging" with a couple of reel-tape decks. An unqualified
genius.
Eddie Kramer, whose production/engineering work for both Jimi
Hendrix and Led Zeppelin picked up where Martin's left off. The sound of
electric rock guitar as we know it is largely the product of his
efforts.
Leonard Chess & Willie Dixon (who largely went uncredited),
responsible for the best sides by Chuck Berry, Bo Diddley, Muddy Waters
and Howlin' Wolf (among others).
Jimmy Miller, point man for the Rolling Stones in the late '60s
and early '70s. "Exile On Main Street."
John Fogerty. A dark horse candidate by most accounts, but he did
man the boards at all the great CCR sessions. Those records completely
permeated American radio for twenty years.
Bob Johnston, pop music maven at Columbia records in the '60s who
produced Dylan's "Highway 61 Revisited" and "Blonde On Blonde." Some of
Mike Bloomfield's best studio work was done with Johnston at the board.
What needs to be said about "Like A Rolling Stone"?
Gary Usher, who produced most of the great Byrds records and
dreamed up Roger McGuinn's "compressed 12-string" studio sound.
Berry Gordy, founder of Motown Records, responsible for recording
what is probably the most easily identifiable guitar lick in the recent
history of American music: James White's intro to the Temptations' "My
Girl."
Ahmet Ertegun, co-founder of Atlantic Records. Steve Cropper,
Wilson Pickett, Joe South's intro to Aretha's "Chain Of Fools."
We are but small tugs floating in the wake of these large ships.
The "new(er) guys":
Nick Lowe, whose work on the great early Elvis Costello records-
especially "Armed Forces"- was a high-water mark of the New Wave.
Lee Pipecock Jackson "Scratch" Perry, without whom reggae
music and all of its many wayward strains would not exist.
Brian Eno, whose work with Bowie, Talking Heads, and U2- as well
as his pioneering synth production on the first Roxy Music record- seems
to grow in influence with every passing year.
Steve Albini, whom I despise as a personality and musician, but
whose work as "recorder" of the Pixies, Nirvana and PJ Harvey has <ahem>
produced some of the most memorable rock records of the past decade.
Sean Slade & Paul Q. Kolderie, the house producers at Boston's
Fort Apache Studios, whose work with Uncle Tupelo, Dinosaur Jr.,
Lemonheads, etc. in the late 80s and early 90s helped to define a
revolution in style and, for better or worse, radio programming.
Mitchell Froom (and Tchad Blake), whose work with everyone from
Los Lobos to Richard Thompson to Ron Sexsmith is some of the lushest
production I've ever heard. Same for Daniel Lanois, who won a Grammy last
night for the most recent Dylan record.
I'm sure there are others I've forgotten, none of whom is named
Quincy Jones (whose best work, as far as I'm concerned, was the production
of Dinah Washington's mid-50s sides on the Emarcy label).
Alec Horgan
In article <19980226155...@ladder03.news.aol.com>,
rjcl...@aol.com (RJClayton) wrote:
> Alec Horgan wrote:
> >"We own the world, we are rich bastards
> >We are the ones who ride in limousines and don't pay taxes.
> >This is crap we're singing, we're stoned out of our minds
> >We didn't even bother to make it rhyme...la da da"
> > --the verse John Wesley Harding had to omit from "July 13,
> > 1985" in order to avoid being sued by QJ
> >
> Whaffo he had to omit it to "avoid being sued by QJ"? there's nothing
> sufficiently libelous, slanderous, or specifically about Quincy Jones in that
> verse to cause anyone to sue. If QJ was the producer, and told the singer not
> to include it, it's an artistic statement, and an artistic disagreement.
Ehh...Quincy Jones didn't produce John Wesley Harding, he produced and
wrote "We are the World" (It was a big hit some years ago, you might
remember it), which song that verse (from JWH's song making fun of Live
Aid) parodies.
John Wesley Harding is British, and remember that British laws on such
matters are very different from American ones. In British libel cases, as
I understand it, the burden of proof is on the accused. (Look up the
infamous McLibel case for more details on how their system works in
practice.)
> Public figures, and that would include
> Quincy Jones, can be libeled or slandered, but it's gotta be pretty outrageous
> to meet the standard of the law. Just more urban folklore, I'd say.
>
On the contrary, it is stated very plainly in Harding's self-authored
liner notes to the album which contains the song in question.
Giri
Sir Billy Gee of Sax-o-nee,
Thank you, thank you, thank you. That was one of those "save to
file" posts.
Jonathan Roberts
SKWPA wrote:
> I get the impression bands wouldn't want some producer telling them how
> their music should sound. But then again, maybe a producer is hired to
> achieve a certain sound which that producer is known for.
I think it's in the <Pink Floyd at Pompeii> film where Roger Waters says a
producer is a person in charge of the recording session. Thus, the final
arbiter of what goes onto the tape.
Some producers have such an influence on the sound that they deserve as much
credit as the nominal artist: Phil Spector, for example.
Others believe their job is to capture accurately what the artist does and get
it onto record without alteration: Robert Fripp described his production of
the Roches as "audio verite."
The middle ground is a person who helps the artist attain certain sounds and
get a good result on the recording: I'm thinking here more of someone like
Mitchell Froom who certainly has some audio trademarks but doesn't intrude so
much into the recording.
--
Best,
-- Jon
jonathan roberts \ in days somehow distracted
the region of where \ in nights of troubled sleep
guitar:synth:notes \ these memories long supressed emerge
nart...@pobox.com \ too difficult to keep
William G. Sacks
William G. Sacks (wgs...@artsci.wustl.edu) wrote:
: Eddie Kramer, whose production/engineering work for both Jimi
: Hendrix and Led Zeppelin picked up where Martin's left off. The sound of
: electric rock guitar as we know it is largely the product of his
: efforts.
One side note: after I got home last night, I found that Andy
Johns (who was the chief engineer for the Rolling Stones Mobile
recording unit in the '70s) was responsible for engineering a larger
percentage of the Zeppelin records than Kramer, and therefore deserves
some mention as well.
Mike Rejsa
I think a "producer" is the guy responsible to the label for seeing
that they get a marketable product in exchange for their money. Covers
many talents.
--
------------------------------------------------------------------------
mi...@primenet.com http://www.primenet.com/~miker/
<This signature intentionally left blank>
------------------------------------------------------------------------
GeoMac
William G. Sacks wrote a great post:
>
> Brian Eno, whose work with Bowie, Talking Heads, and U2- as well
> as his pioneering synth production on the first Roxy Music record- seems
> to grow in influence with every passing year.
Can't forget Eno's work-with/influence-on Peter Gabriel either.
pH
Mark Delsing
On Thu, 26 Feb 1998 15:36:31 -0500, Giri <bl...@blah.blah> wrote:
>Sir Billy Gee of Sax-o-nee,
>
>Thank you, thank you, thank you. That was one of those "save to
>file" posts.
Indeed! Might I also add:
Gus Dudgeon, who has done great stuff with XTC, and, IIRC, goes all
the way back to Ten Years After.
Steve Lillywhite, whose work on U2's early albums, not to mention Big
Country and a host of other New Wave U.K. bands, just plain kicks
butt.
And, you have to admit, Brendan O'Brien's work with King's X,
Soundgarden, and STP made the mold for 90's guitar sound, not to
mention Butch Vig, and heck, Rick Rubin, too!
Stevie Mark
mdelsing[at]enteract[dot]com
"Spice World" does not contain a final, bloody shootout
involving the Girls, much to my dismay. It's buffed and
polished and pre-digested for the drooling pre-teen. The
ladies like to hold two fingers aloft, which is either a cry for
peace or yet another reminder of just how many breasts
they each have.
--Stefan Kretschmann
STRATQUEEN
Bob (the Songster) Clayton wrote:
<<Sounds like the same crap I've read about "American Pie," that Don McLean
won't say what it means 'cause he'd be sued (by the Stones, the Beatles, Nixon,
etc.), to which I reply, "Bullshit!" Public figures, and that would include
Quincy Jones, can be libeled or slandered, but it's gotta be pretty outrageous
to meet the standard of the law.>>
Absolutely true, in every case I've heard of across the country.
<< Just more urban folklore, I'd say.>>
But then again.....in this litigious society we live in, who can blame him
for being paranoid about being sued?
STRATQUEEN
<<I'm sure there are others I've forgotten, none of whom is named Quincy
Jones>>
Thanks for the listing. I am not familiar with the production side of the
business so your comments gave me some good starting points to work with. I
did mention Gordy in a post the other day, and I think he's made a major
contribution to American music.
Don Holmes
What's the difference between a producer and an engineer?
I dunno... what do you think?
STRATQUEEN
Don Holmes wrote:
<<What's the difference between a producer and an engineer?>>
I dunno... what do you think?>>
I can only speak from my experiences with my friends who record, and of artists
whom I've heard describe their own experiences. In many cases, the producer
makes the decisions about the type of *sound* or *vibe* the record is supposed
to have, and then the engineer uses his expertise to capture that sound from
the recorded material.
In other cases, the producer is involved with actually finding the songs that
capture the sound/vibe he's looking for, and then helps the artist go through
them and choose the songs that are going to be on the album. A dynamo team for
this type of production are Jimmy Jam and Terry Lewis, who produce(d) Janet
Jackson's albums, as well as some other R&B stars (Janet gave a great interview
a few years ago and went into detail about how her albums are made. It was
quite interesting.)
The differences between "Producer" and "Engineer" seem to vary greatly within
the industry, and it seems to depend somewhat on whether the artist is using
their own original material or using material written by someone else.
I have friends all over the U.S. who record in small local studios, and they
have told me about their experiences dealing with ONE person who serves as
producer and engineer, and is involved in both the recording and mixing.
On a different note, I've heard so much hoopla about the big bucks that
producers make, and I'm wondering how this works.
Asad Aboobaker
don.h...@nashville.com (Don Holmes) wrote:
>What's the difference between a producer and an engineer?
An engineer actually knows something? :)
Asad
remove "!"s to mail
Mic Cullen
Giri <bl...@blah.blah>, far, far away from here, appears to have written:
>Sir Billy Gee of Sax-o-nee,
>
>Thank you, thank you, thank you. That was one of those "save to
>file" posts.
Indeed! I'd just locked it away in "dejamic" when I read your post
expressing said concept. Beautiful potted history.
cheers,
Stevie Mic
(The return address will work as is...)
The "Stevie" Page is found at
http://www.cross.com.au/stevies/
seventh hole in chaos
Mike Rejsa wrote:
>
> I think a "producer" is the guy responsible to the label for seeing
> that they get a marketable product in exchange for their money. Covers
> many talents.
for major-label stuff, this is often the case. producers are often
employed to keep bands on track as well, so that they spend their studio
time recording and not fucking around. often, the producer will just
listen to the band, and come up with an idea what the record should
sound like. then he helps the band make that sound. in some cases, this
is a search for a marketable sound, but sometimes it isn't...it also
depends on the genre; often in rap/hip hop the producer will write the
music, and the rapper will just rap over it. in techno, most artists
produce themselves, as they know what they want to sound like and have
the means to do it themselves.
np: jim o'rourke "flat without a back"
--
Here lies a youth who died of consumption:
you know why
Do not pray for him
Xoi8e
>for major-label stuff, this is often the case. producers are often
>employed to keep bands on track as well, so that they spend their studio
>time recording and not fucking around. often, the producer will just
>listen to the band, and come up with an idea what the record should
>sound like. then he helps the band make that sound. in some cases, this
>is a search for a marketable sound, but sometimes it isn't...it also
>depends on the genre; often in rap/hip hop the producer will write the
>music, and the rapper will just rap over it. in techno, most artists
>produce themselves, as they know what they want to sound like and have
>the means to do it themselves.
I was going to bring up the point about hip hop producers. They seem to make
a larger point of themselves vs. the group when compared to other genres -
which I think is the traditional role of a producer - to be more of a
director than a session baby sitter.
I'd like to see a top 40 list listed by producers, not artists ot songs. Can
anyone do this?
Are there many cross-genre producers? Like someone who produces rock and
country, or hip hop and dance music?
Is there such thing as an industry publication or newsletter made
specifically for producers? Or do producers just gleam their vast wisdom
from everything...
I have an important unanswered question. How does someone *become* a
producer. I guess they have to just get known somehow (other than producing)
and then talk someone into letting them handle a project, and get their name
around, etc. There doesn't seem to be an actually starting point for
becoming a producer.
STRATQUEEN
FOR......Xoi8e <d...@xa.ev>
Here is a link which gives some great info on who has produced what, with links
to other resources:
Encyclopedia of Record Producers:
http://www.mojavemusic.com/
seventh hole in chaos
Xoi8e wrote:
> I have an important unanswered question. How does someone *become* a
> producer. I guess they have to just get known somehow (other than producing)
> and then talk someone into letting them handle a project, and get their name
> around, etc. There doesn't seem to be an actually starting point for
> becoming a producer.
the basic way that you get known as a producer is to produce for a band
that becomes famous. then, if they like your work they will continue
using you, and other bands that like the band you're producing will ask
you to produce for them. another way to do it is just to work with local
bands, and do such a unique and high-quality job that other
bands/recording studios/record labels become interested in your work.
np: autechre "draun quarter"
Eric Aiese
Xoi8e <d...@xa.ev> wrote:
>I'd like to see a top 40 list listed by producers, not artists ot songs. Can
>anyone do this?
Billboard usually has a list of top producers in their year-end
issues...not sure about anything on a regular basis, though...
>Are there many cross-genre producers? Like someone who produces rock and
>country, or hip hop and dance music?
Well, Puff Daddy's made a rock record, but usually, guys stick to one
genre. I think David Foster's done a country tune or two, in
adddition to all the power-ballads. I can't think of any others
like that, though.
>around, etc. There doesn't seem to be an actually starting point for
>becoming a producer.
You might want to offer to do low level stuff at a label's studio for
free in order to get your foot in the door and meet people. Kind
of interning, I guess. And if you're lucky you can move up, maybe
make dough, and eventually make some records
E
Harvey Gerst
ai...@mhv.net (Eric Aiese) wrote:
>Xoi8e <d...@xa.ev> wrote:
>
>>Are there many cross-genre producers? Like someone who produces rock and
>>country, or hip hop and dance music?
>
>Well, Puff Daddy's made a rock record, but usually, guys stick to one
>genre. I think David Foster's done a country tune or two, in
>adddition to all the power-ballads. I can't think of any others
>like that, though.
Mutt Lange??
Don Was?
Barry Beckett?
Jimmy Bowen?
Jeff Hanna?
Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/
Andrew P. Mullhaupt
Harvey Gerst wrote in message ...
>ai...@mhv.net (Eric Aiese) wrote:
>
>>Xoi8e <d...@xa.ev> wrote:
>>
>>>Are there many cross-genre producers
Well, there is one you ought to know about. John Hammond (Sr.).
He didn't always produce all his acts, but he signed Bruce Springsteen,
Stevie Ray Vaughn, Bennie Goodman, Billie Holiday, etc....
One of the best cross genre albums is Maria Muldaur's masterpiece _Waitress
in the Donut Shop_ which is produced by Joe Boyd and Lenny Waronker. You go
all the way from straight swing (Benny Carter's big band) to bluegrass (Doc
and Merle Watson) to New Orleans (Doctor John) to white Gospel ("Traveling
Shoes") including a bunch of other stuff.
Later,
Andrew Mullhaupt
[WUZ!]
>Well, Puff Daddy's made a rock record, but usually, guys stick to one
>genre
Puff Daddy didn't produce the rock record. It was some guy from the Foo
Fighters.
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Les Cargill
STRATQUEEN wrote:
>
> Don Holmes wrote:
>
> <<What's the difference between a producer and an engineer?>>
>
>
> I can only speak from my experiences with my friends who record, and of artists
> whom I've heard describe their own experiences. In many cases, the producer
> makes the decisions about the type of *sound* or *vibe* the record is supposed
> to have, and then the engineer uses his expertise to capture that sound from
> the recorded material.
>
> In other cases, the producer is involved with actually finding the songs that
> capture the sound/vibe he's looking for, and then helps the artist go through
> them and choose the songs that are going to be on the album. A dynamo team for
> this type of production are Jimmy Jam and Terry Lewis, who produce(d) Janet
> Jackson's albums, as well as some other R&B stars (Janet gave a great interview
> a few years ago and went into detail about how her albums are made. It was
> quite interesting.)
>
> The differences between "Producer" and "Engineer" seem to vary greatly within
> the industry, and it seems to depend somewhat on whether the artist is using
> their own original material or using material written by someone else.
In the days of yore, then engineers literally wore white coats and defended the
gear. They were more equipment tenders.
Producers were more of a "session boss". Sometimes the A/R guy would
double as producer.
>
> I have friends all over the U.S. who record in small local studios, and they
> have told me about their experiences dealing with ONE person who serves as
> producer and engineer, and is involved in both the recording and mixing.
Yeah, the gear got cheaper, independent labels happened, the home
recording thing continued to blur the line between the "big" studios
and not so big.
Anymore, the same guy is likely to own, engineer, produce, market and
play on tracks.
>
> On a different note, I've heard so much hoopla about the big bucks that
> producers make, and I'm wondering how this works.
Guys like Don Was get a "name" ( by producing successful material ), and
get to where they can demand more money.
Many of them work on points - percent of gross sales or net profit.
It's probably mostly hoopla. Aint what ya know, but whom.
>
> Slide on........
>
> <A HREF="http://members.aol.com/STRATQUEEN/index.html">Stratqueen's Page</A>
>
> **************************************
> Sharon L. Demmerlé, Esq.
> Demmerlé Law Offices, P.L.L.C.
> Post Office Box 688
> Manchester, NH 03105-0688
--
Les Cargill - lcar...@worldnet.att.net
Anthony Phillips
>How would someone go about becoming a professional producer? That is,
>be hired to "produce" - for pay, or not. For instance, someone may not
>be a musician, or a board engineer, but knows how things should sound
>(to achieve an agreed end). I would suppose that is a producer.
Madonna hired Jellybean Benitez to produce her first album because he was a
hot DJ and she wanted to break through in dance clubs. Mitch Easter became
a hot property after he produced/engineered the first couple of REM albums.
Remember most musicians have put in a lifetime of hard work, expensive
equipment, long hours of practice, years of playing gigs in crappy bars --
NOBODY is just going to hand you the keys to their Ferrari and say "go
ahead, you drive for a while". Start the way we all start, with a 4-track
producing yourself. When you can make recordings that get people's
attention, you'll be on your way to running someone else's show. Good luck.
Vic Pettenuzzi
Hi Everyone,
I would like to invite all of you to our Producer Workshop on Mondays at 2:00 PM
in our Chat Lounge on
Music Network USA.
Visit http://www.mnusa.com/I2I/chat.shtml
Hope to see you all there!
WhatSlave
Well what I will tell you is that I am in a band and we hope to get a
record deal and I hope we get to work with a good professional producer
who has the experience to work WITH us to make the songs that we mostly
play live (2 are on your demo) into recordings that will last for a long
time. We may be competent engineers but we are ar from producers. That's
what a producer should be, according to me
WhatSlave
Ed Wicker
One recent day Xoi8e inquired:
> Is there such thing as an industry publication or newsletter made
> specifically for producers? Or do producers just gleam their vast wisdom
> from everything...
Well, there is a professional trade organization for producers. It is called
Music Producers Guild of the Americas (MPGA) and they have a web site (of course)
that can be found at:
http://www.musicproducer.com/
I hope this is helpful.
Pat Lyman
I'm surprised I haven't seen any producer jokes such as:
A producer is someone who has no idea of what he wants, but know damn
well how to get it.
How many producers does it take to make a decision?
I don't know, what do you think?
doodle.bug
what does dolby SR do ? ........
removes plaque from your tape heads !
peter woodward
The engineer is the guy who turns the knob and slides the faders (and
does considerably more if they are a good one), while a producer is
similar to the director of a film, deiciding on how thing should sound,
what parts get recorded, what effects get used, etc.
The producer and the engioneer can be the same person, but they don't
necessariuly have to be.
PW
Asad Aboobaker wrote:
> don.h...@nashville.com (Don Holmes) wrote:
>
> >What's the difference between a producer and an engineer?
>
AndrwPiety
Asad Aboobaker writes:
> An engineer actually knows something? :)
How many producers does it take to change a lightbulb?--Hmmm. I don't know.
What do _you_ think?
Why did the producer cross the road?--Because that's the way the Beatles did
it, man.
Andy
Andrew Piety
"Hated by fools, and fools to hate,
Be that my motto and my fate"
--Jonathan Swift