Should I Hire a Producer?
Why enlisting the support of an independent production pro can help keep the music flowing
It’s one of the most familiar credits in the record business, yet if you asked various people what “produced by” actually means, you’re likely to get a range of answers. While the role of producer has certainly evolved over the years, nowadays it can include anything from directing the session to offering songwriting, arranging and even instrumental contributions, not to mention helping with technical detail (i.e., the “producer-engineer”).
Above all, a producer acts as a kind of referee, maintaining a sense of discipline throughout the recording project, and also strives not for perfection but feel (since any minor miscues can usually be tended to after the fact). This can be particularly important when paying for a studio facility—without someone telling you when a guitar solo or lead vocal is good enough, you could easily spend many hours (and dollars) aimlessly overdubbing to no avail.
Here is some brief background on record production, and why enlisting the support of such a third party for your own material can help keep the music flowing.
A matter of trust. An artist may want a third party to mainly handle the technical aspects of the session—running the recorder, hanging mics, ensuring levels are correct—rather than getting involved in the creative process. Producers, however, are intended to serve in an advisory capacity, as they are able to provide invaluable feedback about the quality of the material, the performances, whether or not an arrangement is suitable, and other observations. Also, some producers are themselves adept musicians who can add extra parts or fix flubs during the mix process, so long as the artist doesn’t mind. Just how much leverage the producer has to make adjustments is something that should be clearly spelled out beforehand in order to avoid any disagreements between artist and bandmembers later on.
Attitude is everything. Even when asked to weigh in, a good producer will dole out the suggestions carefully and generally maintain a positive attitude throughout—easier said than done, of course, particularly when things clearly aren’t going as expected. It’s the reason why successful producers are known not just for their studio acumen, but their way with people. For instance, a seasoned producer knows that making records is part science and part psychology and responds accordingly, perhaps suggesting “let’s take five” rather than “let’s do Take 5” so the band can regain their hearing and bearings. By the same token, there are times when the song is almost there and the artist just needs some gentle coaxing to get across the finish line (“hey, that last take was practically the ‘one,’ I think we can get it on the next pass”).
A good editor. While there are times when a master is derived from a single excellent take, as you may know it can be difficult getting all of the parts exactly right on just one go. Instead, a producer who is adept at editing might note that Take 3 had the best intro, Take 4 the best harmony vocal, and so on, then edit together a composite (or “comp”) take from the sum of the various parts. In fact, telling the band to “just go knock out a bunch of takes and we’ll make it happen no matter what” certainly makes for a more relaxing work environment than having to get it done in one fell swoop.
Mix autonomy. Since you’ve given your producer the leeway to choose the right tracks and performances, you should also trust them to make the right decisions when it comes mixing. Rather than being on hand for the entirety of the mix sessions, allow the producer the space to focus on getting an optimal balance for each song; in turn, the producer should provide you with several trial mixes to choose from, each containing minute differences (perhaps one with a bit more bass, another with less reverb on the vocal, and so forth). As an added benefit, your producer may regularly work with a reputable mastering engineer, and if so, will understand the best way to prepare the material in order to get the most out of the final cut.
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