If you could work with a big-time producer, who would it be and why?

It's not just the chat for me, though - if I am going to have another set of ears, why not someone who clearly knows how to craft a tune?

EDIT: This question I think actually gets at the heat of the argument in this thread. There are guys who think producers are a joke and there are guys on the other side. Perhaps my thread title is misleading, but I'd agree that at some point a producer gets so popular or gets so in-demand that he/she wouldn't have to do a damn thing to a record and it would carry a certain "air" (er..."stigma"?). Those people can phone it in and ride on the coattails of their own accomplishments, and would be worse than useless for a band looking for input. I think for every producer on the same career trajectory, there is a risk that that point has arrived or passed.

But there are certainly folks in the industry who could lend a helping hand. They might not be as big a name as others, but they're talented.

I guess I agree that I wouldn't be happy with some of the really big names because they could give me the lousy 45-minutes-a-day treatment, but even if it means trading a few beers for a listen by a good buddy I'm up for opinions pre-mixdown.
 
BrentDomann said:
Those people can phone it in and ride on the coattails of their own accomplishments, and would be worse than useless for a band looking for input.
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And that's where I think is the misconception for some folks.....that most producers do just that, phone it in and ride on their previous accomplishments.

Rick Rubin aside :D (I've heard that story a few times about him just showing up for 45 minutes and laying on the couch with sunglasses).....I think any producer that is expecting to get calls from other pro artists, is not going to be like that for too long and still survive in the biz.

Point is....there are many pro artists who have their own studios, have the gear, have the experience, have their in-house engineers.....and yet they STILL choose to work with a particular producer, because there's always something new/extra that the producer brings to the table....and at the pro level, the competition to NOT be mediocre....is very high. There's a lot of $$$ riding.

It's easy from a home-rec perspective to feel like "I don't need no stinkin’ producer"....:)...and really, for typical home-rec recording amusements, I would agree that most of us would not need one.....we're very much wrapped up into our own little worlds.

Imagine now you get a shot at a major album release, and the label is willing to front the big $$$ to get it recorded at a major studio XYZ...and you have the option of Butch Vig or George Martin or whatever big-name producer you like to come work with you...or are you just going to wing it on your own?
Hey....I know what I want during a production, and I know how to record, etc....etc, like I'm sure a lot of the guys here do.....but man, I sure wouldn't object to having someone with tons of experience and knowledge sitting in on that major album recording.
 
miroslav said:
It's easy from a home-rec perspective to feel like.....
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miroslav said:
Imagine now you get a shot at a major album release
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While I understand where you're coming from and I'm not in the anti producer camp even though I wouldn't want one, the crux of the matter is that most of us are home recorders "wrapped up in our own little worlds" that are not looking for a shot at a major album release {think of the extra curricular activity that would entail} or future stardom/industry longevity. That, by necessity, underpins quite a few of the answers that have thus far been.
Were many of us looking for what you posited, I dare say the answers might be different. I would point out though, that zillions of band members and solo artists over the last half century have gained an interest in production and decided they wanted to do it themselves, which, to me, is rather significant.
 
grimtraveller said:
While I understand where you're coming from and I'm not in the anti producer camp even though I wouldn't want one, the crux of the matter is that most of us are home recorders "wrapped up in our own little worlds" that are not looking for a shot at a major album release {think of the extra curricular activity that would entail} or future stardom/industry longevity. That, by necessity, underpins quite a few of the answers that have thus far been.
Were many of us looking for what you posited, I dare say the answers might be different. I would point out though, that zillions of band members and solo artists over the last half century have gained an interest in production and decided they wanted to do it themselves, which, to me, is rather significant.
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Well.... let's indulge the fantasy for a moment, and just like some of the other contests (win a mix by engineer XYZ)....what if you won an opportunity to have a name producer of your choice come to your home-rec studio world and work on the project with you....
...would you take the opportunity to grab as much real-world, pro recording knowledge from that producer...? :)

AFA the zillions who do it themselves....well, that's not the same thing as zillions actually getting the best possible production, and these home-rec "help me" websites are testimony to that.
It's like....those people have no problem asking a bunch of other home-rec guys who are also working their way through the recording process, about how best to do this or that.....but the thought of a pro producer being there for them, is a put-off...???
Huh?
I don't get that.

Anyway...since the opportunity for the majority of us here to work with "big name" producer is about a zillion to one....it's pretty easy here to say, "no thanks, I can do it all by myself". :D

I think the crux of the negativity centers around the misconception that all pro producer just come in and beat the artists into submission, and do it how they think it should be, without paying any attention to the artist's views....and honestly, I doubt there's many producers these days making a living with that type of approach.
Maybe back in the Big Name Record Company days....but I don't think it's like that with all producers.
Hey....bottom line, if you are a no-name artist, and a Big Name Record Company is going to sink a lot of $$$ to help you record your album and develop your act and promote it all.....it's no surprise that they won't simply let the no-name artist control every decision on his own....but then, hey, no-name artist always has the option to walk away from it, and retain all his creative control….same as he already can in his home-rec environemt.

To me, it's about gaining some additional info from a producer who's probably done more serious sessions than the majoprity of folks her eput together. It's not about giving up any creative rights.....but I guess everyone has their individual perspectives to consider.
 
Just my luck the big name producer would take one listen to my material and walk out.... ("no hope" ) :D:D:D:D
 
ido1957 said:
Just my luck the big name producer would take one listen to my material and walk out.... ("no hope" ) :D:D:D:D
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I'm sure there are some jerk producers....but I can bet there are more who are compassionate and who understand how delicate artists can be....so unless you were like sucking big time, and your music was the worst crap on the planet....I think most producers would try to help you find the best of what you were capable of.
That really IS the purpose of a producer....very much like a director in a movie. Seeing/hearing what the artist may not, because the artist is in the middle of it, while the producer or director is on the outside of it, seeing/hearing from a different angle....and THAT is where your audience is going to be.

Anyway…this is all moot here, and just a discussion about “what-if”….so there’s not going to be any final decision made (unless Butch Vig is knocking on your door right now). ;)

Besides....some are now getting frustrated being forced to read all these posts! :facepalm:
Is there a producer here making them do that? :p
 
Yeah, don't waste your time on anything he types. He doesn't even come back to answer people when they question his non-sensical posts. So, I guess he doesn't even waste his time with his own posts. :eek:
 
Maybe he meant Phil Ramone..........though Phil is dead, and it would be hard working with him in that condition.
 
Would have to be Brian Eno for me. Looking back at the diversity of his work, I'd love to have an insight into the way he approaches a project. What is his start point? Bringing up a close second would be Alan Parsons, but for different reasons. He has a precision about his work, but never seems to let go of the musicality.
I do however agree with some of the comments above regarding the role of the "modern" producer.
 
tascam baby said:
...Alan Parsons.... He has a precision about his work, but never seems to let go of the musicality.
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We use to do some APP in one of my bands.
I wore out most of the APP albums listening to them....I Robot, Pyramid, Turn of a Friendly Card, Eye in the Sky.....etc.

I would say that during the period from the mid '70s to early '80s....APP and Bowie were at the top of my list, but at the same time, I was also heavily into Blues/Boogie/R&R....early Mac, Savoy Brown, Johnny Winter....etc.

Anyway...most people think of Parsons because of his work with Pink Floyd (which I also like)....but I much more preferred his APP stuff. I think you could say that Alan Parsons realy defined the role of the producer as a major creative force....similar in some ways to how Geroge Marting worked with the Beatles, but Parsons, IMO, took it to a different level.
 
miroslav said:
We use to do some APP in one of my bands.
I wore out most of the APP albums listening to them....I Robot, Pyramid, Turn of a Friendly Card, Eye in the Sky.....etc.

I would say that during the period from the mid '70s to early '80s....APP and Bowie were at the top of my list, but at the same time, I was also heavily into Blues/Boogie/R&R....early Mac, Savoy Brown, Johnny Winter....etc.

Anyway...most people think of Parsons because of his work with Pink Floyd (which I also like)....but I much more preferred his APP stuff. I think you could say that Alan Parsons realy defined the role of the producer as a major creative force....similar in some ways to how Geroge Marting worked with the Beatles, but Parsons, IMO, took it to a different level.
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Parsons is good, but again Bob Ezrin is the man! All the good Alice Cooper(called him the sixth member of the band during their Hall of Fame induction), all the good Kiss albums, then there was a little record called The Wall by Pink Floyd. To name but a few! LOL!:spank:
 
I have no doubt big-time producers know more than I do about making recordings, but I would still be uptight if I had to work with one. I was produced small-time for demos a few times and I hated the results. It ain't ever going to happen so it's a moot point really, but I think different producers take such varied approaches you just don't know what to expect. I'd be much more interested in the engineers.
 
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