8 Questions That Can Save Your Session

By Teri Danz

If more artists had post mortems as to why a recording session tanked, they might discover the winds of defeat can sometimes be blowing before anyone even steps into the studio. Musical pre-production is often discussed as a necessity when making records, but it seems as if administrative and strategic plans are often given little consideration. Well, guess what? If you don’t address some of the “whys and hows” before you start tracking, the musical parts and production plans may be insignificant, because the project might die before it’s even born.

What Is the Goal?

This is an oft-forgotten, but very deadly question. Too many artists enter the studio without a clue as to why they are really there. Are you making a demo? If so, what is the demo for—managers, booking agents, label executives, or publishers? Are you making a master recording? If so, are you releasing the project on your own, having it distributed through a label, or handing the master to a bona fide record company? For example, C. Tricky Stewart defines his production role as “the liaison between a great song, the artist, and what the label needs.” You need to know where your project is meant to go.

Does Everyone Know His or Her Job?

Sometimes, democracies can be inefficient in the studio work. In order to maximize productivity—as well as to steer a project towards completion without spending funds indiscriminately—it helps to have a clearly defined chain of command. Be very clear about the roles of the producer, engineer, and various band members. Collaboration should still happen, of course, but it’s often best when all opinions and ideas are delivered in an arena of “managed collaboration.”

Are You Working with a Good Engineer?

You don’t have to be an accomplished engineer or producer to make a good record, but, if you’re not, then you need to work with one who can capture what you hear. This means that the engineer with the best hourly rate—or the one provided by the studio— may not be the best partner to realize your creative vision. Never be afraid to spend the time to get to know the person who will be twisting the knobs for you—and make sure that person understands what you are trying to do.

Are You Aware of What You’re Competing Against?

Learn what a “finished recording” sounds like for an acceptable demo, a rock record, a pop record, and so on. Compare your song to professional recordings and/or hits, and note all the differences.

Are You Building a Strong and Appropriate Foundation?

Depending on the genre, there are many ways to start a recording. In hip-hop and dance, the rhythm track rules. But for songwriters such as Jason Mraz and John Mayer, the recording may start from the foundation of a basic guitar and vocal track. Of course, songs can start all kinds of ways, but certain styles do tend to put more importance on one element or another, so make sure your work hits the style’s sweet spot.

Will You Allow for Spontaneity?

Let go of preconceived ideas and assumptions, and let pure creativity guide the process. You can always assess and edit the ideas later, but if you set rules at the beginning of the process, you may prevent something glorious from happening.

Do You Know When to Surrender?

“Learn when to let it go when it’s too hard to get,” suggests producer/songwriter Robert Ellis Orrall. For example, if a vocalist is trying over and over to get something you’d like to hear, but they can’t or won’t get it, then move on. Your choice is to have them practice the part and try again later, or just let it go. Sometimes, doing what is attainable is preferable to getting a less-than-great performance on a part you desire.

Will You Commit to Being a Solution—Not a Problem?

If something goes wrong in the studio—and it will— be professional. Things can sometimes get heated with the studio clock ticking and musicians or clients getting anxious. Keep your cool. If it’s your studio and you’re the producer, the solution will likely be your call, but calmly detail your plan for getting back on track. Don’t be too pushy or defensive or visibly confused or angry. If the person who should be in control seems out-of-control, then the whole session can spin into the abyss.

Do You Really Want a Producer?

Are you are truly stoked to hand over the reigns, and let someone else steer your recording project? Are you fully capable of trusting and following the advice of an outside influence on your precious work?

Please circle back to the title of this article to make sure you understand the key word is “want” as opposed to “need.” Some artists need production help (whether or not they know it), but resist it for various reasons. It can be an ego issue, a control situation, lack of funds, insecurity, fear, or just plain ignorance of what production roles and responsibilities are. Indeed, many artists may need a producer in the most desperate of ways, but still feel they don’t want one!

Over the years I have been producing, I have worked with artists that fit every range of what you can imagine. There are those who seemingly want production assistance more than anything in their lives, all the way to those who are only putting up with the idea because the record label won’t let them into a studio without a producer. I am happy to report that most artists fall closer to the former than the latter, as there is nothing more frustrating and futile than trying to collaborate with a non-collaborator.

In my quest to help you come up with the right answer to this question, I’ll say that you are likely to be an artist who wants a producer if you find yourself agreeing with the following statements.

[1] You believe the theory that two heads are better than one, and that your strong suit is mainly one of a performer, whereas the producer is a director, pursuing all things that inspire, shape, structure, and finalize the collective vision to equal much more than the sum of the parts.

[2] You have a history of struggling to express yourself with great demos or finished projects that showcase the best performances imaginable, while maintaining a sonic value that matches the music perfectly.

[3] You have come to realize that the “one person does it all” style of multitasking is overwhelming, and actually brings less reward to the overall artistic pursuit.

[4] You feel that the input, energy, and focus of another creative force dedicated to getting the best out of you pushes you to higher levels of excellence, and does not threaten you simply because the ideas are coming from someone besides yourself.

[5] You admit to having “demoitis”—a tragic state of mental blockage that makes one believe a song cannot change from the original demo—and you can’t shake it alone. Demos can be a blessing or a curse, so you’ve got to be honest about whether or not recording them helps or hinders the process of creating your final master recordings.

So now, you may be thinking that bringing on a producer is a good idea. But how do you know the chemistry will be there to make greatness together? If you want to test the waters by doing a single track or so before committing to a whole project, that should be acceptable to most producers, as long as it is a fair arrangement for both parties. Frankly, you testdrive the car before you buy it, right? Also consider that co-production can be a good approach for those who have great production chops, but who want to share the creative load with another producer.

The bottom line in any and all producer/artist relations is mutual respect, and the trust that both can bring the best out of each other. So do yourself—and everyone else—a favor, and don’t hire a producer you don’t have 100-percent faith in. In order for them to do their job, you have to let them do it.

I’ll leave you with this well-worn joke among producers: If the recording goes multi-platinum, the artist is a genius and gets all the credit. Conversely, if the project tanks and sinks into the great unknown, it is clearly 100-percent the producer’s fault!

So, do you really want a producer?