Production
Music Production as we define it is the producer assisting the artist in achieving the best possible performance and ensuring that the finished product, the recording, is the best possible representation of that performance. In our experience, productions are much more successful when every person involved fully understands the role they serve. This includes the producer. Making music is an art. The producer is another part of the artistic process.
Production Budget:
An essential consideration of any production is the production budget. The amount of the budget should be discussed at length and clearly understood by both the artist and producer at the soonest possible time. Lack of adequate funds should not be a factor. If the budget is a major concern, then the production is unaffordable. There are few things that can affect the outcome of a production more than a misunderstanding of actual production costs. If the artist and producer are on the same page in regards to the production budget then they will likely agree on many other aspects of the production.
Before:
Pre-production is an essential part of capturing a desirable performance. What happens between the artist and the producer before going into the studio is very important. It is better for the artist and producer to make committed decisions together regarding tempo, vocal style, instruments, and arrangements before starting the recording process rather than during or after.
A producer does not look forward to having to “fix it in the mix”. Post-production is most effective if the producer has a great recording of a great performance to work with. That is why if time and budget permit, spending a good amount of rehearsal time prior to going in the studio can help the sessions go smoothly. There is no substitute for a well rehearsed artist and a firm commitment to quality and artistic direction by both the artist and the producer prior to recording.
During:
When production is going well, everyone can tell. The same thing is true for the opposite. Little things can make all the difference during a performance. Pressure of the moment as well as the level of experience of the producer and artist are also important factors. An artist’s attitude and approach to the performance in the studio is most important if the artist is going to perform well. The same is true of the producer. If there are problems, this is when they will really start to become apparent. How well each person understands his or her respective role will also show. Good microphones and a studio environment have a way of telling the truth. Shortcomings in talent and experience will stand out on in the recordings without mercy. The recordings of the performance should either sound like the artist imagined they would, or they should sound even better. Anything less should be unacceptable. Kind of good or pretty good now will most likely be found to be kind of bad, or worse once enough time has passed and the heat of the moment has cooled. Staying objective is most important at this stage as the performance and recording of the performance are either good or they are not. This is the time when the producer should be keeping everyone focused and true to the vision of the project. Once everyone is in agreement that the songs sound good, then the project can proceed.
After:
Post-production is most effective when the performances and the recordings are strong. If the songs sound good then post-production can help them sound even better. This should not be the time to rely on the producer to “fix it in the mix”. Although many performance problems can be remedied at the post-production stage, tempo and pitch problems in faulty performances are not the types of problems that a producer would choose to “fix”. Ideally, the producer should be making decisions with the artist in regards to effects, ways to enhance and the flow of the recordings; not ways to cover up performance problems. At this stage in the production process the artist should start to hear everything really come together and should be more than pleased about the performances and the recordings. Staying objective is often more difficult at this stage than at any other since the artist and the producer are very familiar with the nuances of the recording and the performance. For this reason we believe it is a good idea for everyone to take a break from listening once everyone is in agreement that the performances and the recordings are the best they can be. We like to take a week or two off to let the songs rest. Then everyone listens again. If time allows, we like to take off another week to let the songs rest a second time. Then everyone listens once again. If the artist and producer finally agree that the performances and the recordings sound great then it is time have the recordings mastered.
Music Production as we define it is the producer assisting the artist in achieving the best possible performance and ensuring that the finished product, the recording, is the best possible representation of that performance. In our experience, productions are much more successful when every person involved fully understands the role they serve. This includes the producer. Making music is an art. The producer is another part of the artistic process.
Production Budget:
An essential consideration of any production is the production budget. The amount of the budget should be discussed at length and clearly understood by both the artist and producer at the soonest possible time. Lack of adequate funds should not be a factor. If the budget is a major concern, then the production is unaffordable. There are few things that can affect the outcome of a production more than a misunderstanding of actual production costs. If the artist and producer are on the same page in regards to the production budget then they will likely agree on many other aspects of the production.
Before:
Pre-production is an essential part of capturing a desirable performance. What happens between the artist and the producer before going into the studio is very important. It is better for the artist and producer to make committed decisions together regarding tempo, vocal style, instruments, and arrangements before starting the recording process rather than during or after.
A producer does not look forward to having to “fix it in the mix”. Post-production is most effective if the producer has a great recording of a great performance to work with. That is why if time and budget permit, spending a good amount of rehearsal time prior to going in the studio can help the sessions go smoothly. There is no substitute for a well rehearsed artist and a firm commitment to quality and artistic direction by both the artist and the producer prior to recording.
During:
When production is going well, everyone can tell. The same thing is true for the opposite. Little things can make all the difference during a performance. Pressure of the moment as well as the level of experience of the producer and artist are also important factors. An artist’s attitude and approach to the performance in the studio is most important if the artist is going to perform well. The same is true of the producer. If there are problems, this is when they will really start to become apparent. How well each person understands his or her respective role will also show. Good microphones and a studio environment have a way of telling the truth. Shortcomings in talent and experience will stand out on in the recordings without mercy. The recordings of the performance should either sound like the artist imagined they would, or they should sound even better. Anything less should be unacceptable. Kind of good or pretty good now will most likely be found to be kind of bad, or worse once enough time has passed and the heat of the moment has cooled. Staying objective is most important at this stage as the performance and recording of the performance are either good or they are not. This is the time when the producer should be keeping everyone focused and true to the vision of the project. Once everyone is in agreement that the songs sound good, then the project can proceed.
After:
Post-production is most effective when the performances and the recordings are strong. If the songs sound good then post-production can help them sound even better. This should not be the time to rely on the producer to “fix it in the mix”. Although many performance problems can be remedied at the post-production stage, tempo and pitch problems in faulty performances are not the types of problems that a producer would choose to “fix”. Ideally, the producer should be making decisions with the artist in regards to effects, ways to enhance and the flow of the recordings; not ways to cover up performance problems. At this stage in the production process the artist should start to hear everything really come together and should be more than pleased about the performances and the recordings. Staying objective is often more difficult at this stage than at any other since the artist and the producer are very familiar with the nuances of the recording and the performance. For this reason we believe it is a good idea for everyone to take a break from listening once everyone is in agreement that the performances and the recordings are the best they can be. We like to take a week or two off to let the songs rest. Then everyone listens again. If time allows, we like to take off another week to let the songs rest a second time. Then everyone listens once again. If the artist and producer finally agree that the performances and the recordings sound great then it is time have the recordings mastered.