The producer is an important linchpin in the music industry and is responsible for the creative, technical, and business processes of record and CD production in the studio. The producer’s job is approximately equivalent to those of the producer and director in the film industry, and combines the responsibilities of both.
Of all the genres, producers are most important in popular music. Here, they work with musicians, songwriters, and performers as a liaison between them and engineers in the recording studio, and working as executives for their own record labels. Producers oversee all aspects of the recording process that takes a song or album from a concept to a viable, finished musical product. As such, music producers are to popular music what directors and producers are to the theatre or motion pictures: they combine the key roles of artistic adviser and business representative to create a financially successful result.
The recording/studio process can be divided into three main stages—pre-production, production, and post-production. The pre-production stage involves preliminary decision making, songwriting, song selection, rehearsals, finalising music arrangements, setting up of budgets, and settling any other details before recording begins. The production stage includes overseeing the actual recording, which involves recording all basic rhythm or bed tracks, vocals, any other additional instruments, and mixing the record. At the post-production stage all the earlier stages are tied together to complete the master recording. Mastering and duplicating mass quantities of tapes and CDs then takes place. Mastering is done by highly experienced professionals working in a specially designed environment.
The producer’s role in popular music is so intertwined with the creative and business sides of the music industry that it is hard to write a definitive job description. Basically a producer is responsible for overseeing all aspects of an artist’s recording. Some of these duties can overlap with those of a manager, but a producer is not a manager per se. By definition, a record producer is concerned with the creative, technical, and business aspects of an individual recording project, and does not extend this involvement to a life-long commitment.
A producer’s involvement in a project often means not only working with the artist and engineer to get the right sound in the studio, but also being the songwriter, co-writer, and arranger, as well as managing all the business issues surrounding a recording.
The producer’s task list includes organising, listening, scheduling, and arranging musical, technical, and business details, so that creativity is maximised and studio time is used effectively. Producers often select material for their artists to record, studios for them to record in, and book the backing band and any additional talent needed for the recording session. The producer wears yet another hat and acts as a “director” of the session. Often having a very direct impact on the music, the producer may sometimes just act as an objective ear. Producers guide the musicians and the music during the recording process, and work with the recording engineer to achieve the best possible sound. They also handle business details such as paying the studio and hiring talent, filing union contracts, and working closely with the record company executives in charge of the act.
Sometimes pop producers are given the task of making a hit song out of a few lyrics and some chords scribbled on a piece of paper. They have a very hands-on style of working, and usually their recordings have an identifiable sound. Often producers are hired on the basis of this hit sound.
Other producers take a more removed approach, and prefer to be involved in the process only as a facilitator, offering an objective ear without being personally involved in the creative process.
Either way, the buck stops at the producer’s desk; producers have the final say over all creative and business matters concerning the recording, and they have to be ready to resolve any disputes that may arise in the studio during record production.
The first independent producers were record company “A&R” (artist and repertoire) scouts—those record company executives who seek out and sign new talent. Originally, A&R executives handled all details of signing and recording new artists. However when they discovered that they could make more money from advances, royalties, and freelance production than from their fixed record company salaries, the independent producer was born.
Since that time, there has been a general division of labour between A&R representatives and producers in the record industry—with A&R people handling the scouting and signing of new talent, while the producers worked with acts during the recording process. As studio technology advanced and the recording process became more complex, the producer took on a more creative role. Some imposed a distinctive sound or approach on their artists and became famous in their own right. For example, producers of dance music are artists who create original music in the mix from sounds produced electronically or sampled elsewhere. These pioneers of electronic music boast that they can make a hit record without stirring from their own home.
Some producers started out as recording engineers and eventually worked their way up in the business. Others were successful musicians, songwriters, or arrangers who have been through the recording process many times, and therefore have invaluable experience in the creative, technical, and business aspects of music, while being aware of pitfalls.
Other producers have been music critics or radio executives who have shown that they have a commercial ear for finding the next rock or pop superstar.
Many producers of popular music have had varied talents and experiences before becoming producers. George Martin, a classically trained musician, started out in A&R, then went on to sign the BEATLES, with whom he had a long and successful relationship. His main contribution was his ability to translate their ideas practically, and to add classical touches where appropriate. Quincy JONES was a performer, a writer, and an arranger before he produced albums for artists such as Michael JACKSON, Aretha FRANKLIN, George Benson, and all-star projects like “We Are the World.” A millionaire by age 21, Phil SPECTOR started out writing songs. He then got backing for his recording projects and launched the careers of the Ronettes, The Crystals, and Bob B. Soxx and the Blue Jeans. He produced records of Ike and Tina TURNER and the Beatles. The ROLLING STONES were initially managed and then produced by Andrew Loog Oldham, who helped to create their rebellious pop star images. Other notable producers were Steve Lillywhite, whose stars included GENESIS and the Pretenders, Teo Macero produced records by jazz giant Miles DAVIS, and Rick Rubin’s artists were as diverse as MADONNA and Tom Petty. Berry Gordy was the founder of MOTOWN and started producing to provide an outlet for artists such as Smokey Robinson, Stevie WONDER, and Marvin GAVE. Don Was of Was (Not Was) produced Bonnie Raitt’s album Nick of Time, which was an acclaimed best-selling release in 1989, and won Raitt a Grammy Award.
The producer is the person who has the expertise to draw the various strands of music recording together and end up with a coherent and marketable product.
Gregg Juke
SEE ALSO:
BLUES; DANCE MUSIC; ELECTRONIC MUSIC; JUNGLE; MOTOWN; RECORD PRODUCTION; RECORDING STUDIOS; ROCK MUSIC.
FURTHER READING
Passman, Donald S. All You Need to Know About the Music Business (London: Penguin, 1998);
Ross, Courtney. Back on the Block: A Portrait of Quincy Jones (New York: Warner Books, 1990);
Tobler, John, and Stuart Grundy. The Record Producers (London: BBC Books, 1982);
Williams, Phil. Out of his Head, the Sound of Phil Spector (New York: Outerbridge & Lazard, 1972).
SUGGESTED LISTENING
Berry Gordy: Diana Ross with Marvin Gaye: Diana and Marvin; Quincy Jones: Aretha Franklin: Hey Now Hey; Michael Jackson: Thriller; Steve Lillywhite: Pretenders: Isle of View; George Martin: The Beatles: Abbey Road; Rubber Soul; Andrew Loog Oldham: The Rolling Stones: Out of Our Heads; Phil Spector: Bob B. Soxx and The Blue Jeans: Zip-A-Dee-Doo-Dah; The Ronettes: Presenting the Fabulous Ronettes Featuring Veronica.