recording with a producer

S

steppingonmars

Member
Had a new customer come in today. They have a producer, this is my first time with a producer and I'm not sure where my boundaries are. I've asked them to ask the producer what exactly he will be doing with them and what I'm to expect to proceed. I own a home studio and do this in my spare time so I'm not sure if this is going to be a great idea.

They were mentioning that they are not sure if he will be mixing the project, but I told them I'd rather he didn't. First of all, I work with cubase so if he uses pro tools it means sending each individual track as wav. This would probably take more time to mix it. Also he has a solid pedigree, but I'll I've heard is jazz music he's done and this is a ska/punk type band. Not sure how that is going to fit. They also like my previous work recording/mixing so I'm not sure what the point is here.

They want to do a full album, but I'm a little concerned this is going to turn into a big cluster $#$%. I've arranged a meeting with him and the band to make sure everything is clear before we proceeds, any advice or experience on this?
 
If the band is truly willing to let him drive...then you should just be dealing with him once the session starts, and let him deal with the band.

But if you get caught in-between the band and the producer, where they are all trying to drive....then yeah, that's a cluster &!@$

Also...a producer CAN have his hand in the mixing...but he shouldn't just push you out of the way, either. If the guy really has some skills...I think you can have a good time working together...always room to learn and see things from a new perspective. :)

Don't make the meeting too confrontational....and don't sweat the small stuff (like formats and what not)...just work the situation.
 
Once you start sending full session files back and forth that is when the sh!t will hit the fan.
Dose this producer not have his own space? And what is it that will be any different than him doing the tracking from the beginning?
If all your doing is putting down the raw files and he takes over from there that shouldn't be a problem as long as nothing has to come back to you for fixing / punch ins / or re tracking.







:cool:
 
moresound said:
And what is it that will be any different than him doing the tracking from the beginning?
Click to expand...
Having someone else (the engineer) concentrating on the tracking process while the producer concentrates on the performance (and the relevancy of a particular track) can be very helpful. Does the track make musical sense, and contribute to the song, is as important a decision as is the track well recorded?

It's the tracking engineer's job to make sure the recording is free from clipping and distortion. It's the mixing engineer's job to make sure all the elements are combined well, but it's the producer's job to decide if the performance is adequate, or if an element is even needed in the song.

Is the kick mic clipping? That's the engineer's job. Does the clipping sound good in the context of the song? That's the producer's job.

Record 14 different guitar solo tracks? Engineer's job. Does the 14th track of guitar solos sound better than the 13th track? Producer's job. Are any of the guitar solos even needed? Producer's job**.

**Note: Talking the guitar player out of doing 14 tracks of guitar solos is also the producer's job.
 
Be humble. The band hired him to be the boss. In your meeting you should make it clear that you understand that and that you will only take direction from him. Otherwise, yeah, cluster:spank:


Your job is the gear - to make sure it all works and to get the sounds that the producers asks for. Your opinion should be kept to yourself, even if asked directly. It can be hard, but stay out of the middle!
The producer will be the one to call the shots - I want this sound, or do another take, etc...

The trick is not to let them throw you off your game.... your usual style or tempo.
 
Harvey Gerst said:
.........

**Note: Talking the guitar player out of doing 14 tracks of guitar solos is also the producer's job.
Click to expand...

What about the guitar player that can and insists upon playing 14 parts at once? (Sorry about that, Mr. Rosmini. I couldn't help myself.)
 
steppingonmars said:
Had a new customer come in today. They have a producer, this is my first time with a producer and I'm not sure where my boundaries are.
Click to expand...
It's easy. If he says it, you do it.

They were mentioning that they are not sure if he will be mixing the project, but I told them I'd rather he didn't.
Click to expand...
Don't tell that to the band. Tell that to the producer. The producer's job includes selecting a room to record in/person to do the recording, selecting a room to mix in/person to do the mixing, selecting a room to master in/person to do the mastering. The producer would be neglecting his own job if he let someone else choose the mixing engineer behind his back.
First of all, I work with cubase so if he uses pro tools it means sending each individual track as wav. This would probably take more time to mix it.
Click to expand...
Anybody who has done this for any amount of time knows exactly what to do with individual wav files. It would not slow him down.
Also he has a solid pedigree, but I'll I've heard is jazz music he's done and this is a ska/punk type band. Not sure how that is going to fit.
Click to expand...
I wouldn't worry about that.
They also like my previous work recording/mixing...
Click to expand...
That must be why they hired you to record. That is a good thing.

They want to do a full album, but I'm a little concerned this is going to turn into a big cluster $#$%. I've arranged a meeting with him and the band to make sure everything is clear before we proceeds, any advice or experience on this?
Click to expand...
It will only be a clusterfuck if the guy doesn't know how to produce. And if it goes down that way, it is not on your shoulders so don't worry about it.

Expect something like this:
He will tell you what part to record and what he wants it to sound like. Then it is up to you to choose some instrument/amp/effects/mic/room combination to make that sound and record it. Sometimes the producer will spell out a specific guitar or amp setting. In that case just go with it. Sometimes the producer will just tell you he wants a guitar that sounds "like a green primary number" and you have to interpret his meaning and make it happen on your own.
 
We all have a harmonic that's like a fingerprint, and when two people meet it's like playing two notes on a piano. Sometimes it blends, sometimes it doesn't.

To me it really depends on what the combination of you and the producer yields. There's no telling that. It could be great or otherwise. :eek:

I don't blame you for being concerned. You can have two great musicians and they sound like shit together. Or you can have two ok musicians that make great music. It's not anybody's fault and there's little you can do about it. I think it's based on the harmonics and I'd just try to approach it with an open mind and aim to have fun.
 
Thanks guys

I should state that the band wasn't sure if he wanted to be involved in mixing or not, so it might just be that they're not sure what his role will be either. I also have not talked to the producer yet, but I'll make damn sure we get everything sorted out before I start a full album
I'm getting paid by the hour, which is fine, but I'm pretty sure the bands funds are limited. I'm just worried if there is a lot of collaboration with a producer regarding mixing and tracking, the funds will dry out pretty quick. I can do stuff pretty quick and cheaply and quite well on my own, but if there is elaborate discussions about cowbell mic placement I'm worried it won't get done and everyone will be pissed. I'm not sure what or if the producer is getting paid. This isn't my real job and I've got lots of stuff booked already.

So I'm thinking I'll tell them if they go this route to have the producer focus just on the band and the songs, have all arrangements and tracking ideas sorted out before they come in and I'll record and mix it. Does this sound logical?
 
steppingonmars said:
Thanks guys

I should state that the band wasn't sure if he wanted to be involved in mixing or not, so it might just be that they're not sure what his role will be either. I also have not talked to the producer yet, but I'll make damn sure we get everything sorted out before I start a full album
I'm getting paid by the hour, which is fine, but I'm pretty sure the bands funds are limited. I'm just worried if there is a lot of collaboration with a producer regarding mixing and tracking, the funds will dry out pretty quick. I can do stuff pretty quick and cheaply and quite well on my own, but if there is elaborate discussions about cowbell mic placement I'm worried it won't get done and everyone will be pissed. I'm not sure what or if the producer is getting paid. This isn't my real job and I've got lots of stuff booked already.

So I'm thinking I'll tell them if they go this route to have the producer focus just on the band and the songs, have all arrangements and tracking ideas sorted out before they come in and I'll record and mix it. Does this sound logical?
Click to expand...

If this is a concern then total up at the end of every day and get payment daily.






:cool:
 
steppingonmars said:
... I'm just worried if there is a lot of collaboration with a producer regarding mixing and tracking, the funds will dry out pretty quick. I can do stuff pretty quick and cheaply and quite well on my own, but if there is elaborate discussions about cowbell mic placement I'm worried it won't get done and everyone will be pissed...
Click to expand...

Maybe tell the band members what you said there.

Those are justifiable concerns. You're not being a dick, you just want it to go well.

When it doubt, be honest.
 
RRuskin said:
What about the guitar player that can and insists upon playing 14 parts at once? (Sorry about that, Mr. Rosmini. I couldn't help myself.)
Click to expand...
Ain't that the truth? We used Dick Rosmini on guitar when we did our single for RCA.

After the session was over, Dick was still there, wanting to add more parts. Al Schmitt (our producer) finally talked him out of it, but I'm sure they'd have been great additions to the record.

Whereas, with you Rick, you only use 6 strings, so it limits you to only playing 6 different lines at once.

(For those of you who don't know who Rick Ruskin is, may I direct your attention to this Youtube video of him in concert: Here Comes The Sun.) Listen around 1:45, where he goes from one melody line to 2 part to 3 part to finally 4 part harmony.
 
Harvey Gerst said:
............Whereas, with you Rick, you only use 6 strings, so it limits you to only playing 6 different lines at once..........
Click to expand...

I stopped doing that once informed that I still only got payed once regardless of how many musical lines I played at a single time.:laughings:
 
steppingonmars said:
I'm just worried if there is a lot of collaboration with a producer regarding mixing and tracking, the funds will dry out pretty quick. I can do stuff pretty quick and cheaply and quite well on my own, but if there is elaborate discussions about cowbell mic placement I'm worried it won't get done and everyone will be pissed. I'm not sure what or if the producer is getting paid.
Click to expand...

Any decent producer working with any decent engineer and any decent band is likely to make this less of a problem rather than more. All those group decisions that bog down a project are consolidated with the producer. Band and engineer suggestions and opinions are still taken, but final word is the producer's.

I can work on my own but my best work is with a producer with whom I have a rapport.
 
Well we had the meet and greet/jam at the studio. Basically set up a recorded practice and recorded it for free so the band would have a recording for the producer and I. Mike (the producer) brought a bottle for a couple of shots and we all had a night out. I think we got everything cleared up as far as who does what. The band leader will have the final say and Mike and I advise. Mike is a very laid back humble guy so I think this will be a great experience for everone involved. They banged through the whole CD effortlessly with few mistakes and there was lots of laughs and fun for everyone. The singer told my wife I was the easiest engineer that they have ever worked with, Hopefully that doesn't change :) The band is damn good which makes my job a lot easier too

The recording wasn't great due to live vocal mics, but the vibe was there. They want to do it all live with a 2 piece horn section so I'm starting another thread about this :)
 
Yeah, just define expectations, make sure producer doesn't try to drive your gear into abuse territory and it should be all gravy for you.

If it sucks, the producer takes the heat.
 
You must log in or register to reply here.
Back
Top