FEATURE:
Attack and Absolute Phase
ALL PHOTOS (unless credited otherwise): Unsplash
The Changing Nature of the Producer in Music
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THERE have been noticeable shifts in the music industry…
over the past few decades. Tastes have changed and genres have come and gone. We have seen a lot of technological developments over that time. Streaming and digital downloads have joined conventional hardware and, in many ways, the industry has improved and opened up. It is wonderful new, unsigned musicians have the chance to release music and get it heard on the radio – years ago, this was not a possibility. I am pleased music is more diverse and busy; there are greater options - and it is busier and more explosive than ever. One of the most noticeable splits is between artists producing their own material and those hiring others. I raise this issue because, listen to the radio last week; I heard an interview with Gordon Raphael. He produced The Stokes’ masterful debut, Is This It, at Transporterraum, New York City. It is debatable, if another producer was selected, they would have created the album we hear today. The rawness and distorted vocals; the New York sound and the sensation of a young band tearing up the rulebook – The Strokes themselves could not have devised anything as grand. I look back through history and those epic producers like Sir George Martin and Tony Visconti; Rick Rubin and Quincy Jones – throw in Nile Rodgers and Brian Eno. Aside from the fact they are all men – more on that later – they have helped create some of the greatest albums ever.
IN THIS PHOTO: Tony Visconti/PHOTO CREDIT: Getty Images
Masterpieces from David Bowie, The Beatles and Michael Jackson have been crafted and shaped by incredible producers. One can argue the reason these titans have been so successful is the way they work with the artists: able to confer and compromise; adding their input and help turn great ideas into truly fantastic ones. I talk to some people and they either do not know what a producer does, or else, think it is someone who hits ‘record’ and remembers to stop the recording at the end – the same way people my age did when we were children; illicitly taping the charts on Sunday evening! I will look at gender division in production but, looking back, and there is a split between the self-producing artists and those who had hired guns. You can argue the greatest bands and solo artists relied on other producers. Technology was not what it was now: they could not create music on laptops and always take a D.I.Y. approach; considering the standard the music had to be and what the music incorporated. Even the greats like David Bowie and The Beatles had a big say in their music and what was involved. They never handed the material to the producer and let them control it: there was always discussion and a mixture of the producer’s expertise and the artist’s insight. You can argue the classic albums sound the way they do because of these incredible producers.
IN THIS IMAGE: The album cover for Frank Ocean's Blond/IMAGE CREDIT: Getty Images
If the artist had been allowed to produce legendary cuts like Pet Sounds (The Beach Boys) and Blonde on Blonde (Bob Dylan) – would they have the same quality and genius?! Times were different then but, since the turn of this decade; mainstream artists are taking more of a role. Many of the best artists out there produce their own stuff – if not all the albums; songs here and there – and do not like to gift complete power to another party. I wonder whether there the role of the producer is diminishing slightly?! It is changing so that more and more artists are taking care of their own work and relying on their own voice – this is especially true of independent acts. A lot of mainstream artists still hire producers but, what I find, is the best and more natural music out there arrives when the artist in question has a production credit. You can look at albums by Beyoncé and Frank Ocean and, whilst they are listed as Executive Producer; they are joined by an army of production talent! It makes me wonder whether, in the case of the biggest names out there, it is impossible to craft work of that stature alone. The split coming is between the mainstream and the underground. The idea of the D.I.Y., self-produced artist is coming to the fore. Even if the music is multi-genre and band-made: artists prefer to produce themselves and relying less on outside forces. There are a few reasons behind this explosion.
Producers are expensive and, depending on your budget; it can be tricky setting enough money aside to afford one. A single song can eat of many artists’ budgets. If you have to record an entire album, you might be in the studio for a few weeks or so. Count up the cost of the producer and other expenses – engineers and various studio bodes – and the total is eye-watering! Even with social media largely free and easy; artists still need to print posters, think about promotion costs and gigs – paying for transport to gigs and throwing in food and drink. The modern musician is as concerned with budget and affordability now as at any other time. Depending on the experience of the producer; it is often unrealistic hiring someone to help bring the music to life. Studios vary, in terms of costs, but I am staggered how much people charge for a few hours. Many artists cannot afford the steep fees. It is a shame because, as we can hear from the best albums floating about; having an outside body offering expertise, advice and input can take a record in new directions. You will never have an industry where all artists produce their own work and it is a self-made business: the fact so many new musicians are crafting a D.I.Y. ethos is impressive.
It is a more affordable option and means you are not fixed to studio dates and specific times. Technology allows artists to put any instrument and sound they want into the mix; they can create an album from scratch and see it through to the end – essentially, a studio in the palm of your hand! Not only is it a more cost-effective way of working; it means the artist gets full say in the creative process and does not have to compromise. For newer acts; there are fewer going to producers and recruiting them for their project. The fact modern studios/producers are expensive and located, largely, in cities is not always convenient for artists who want to create something affordable and quic. It is, of course, possible to work with other producers without breaking the band. Some are joining with other musicians/local producers; some artists get reduced rates and being given a break; others mix self-production with studio work – there are options for those who want to have a professional sound and retain a degree of independence. With each passing year; I am seeing new artists take a more involved role in their own music. Whether through a home-built studio, or recording on a tablet, they are producing songs that do not require the elaborate and costly environment of the studio.
IN THIS PHOTO: Grimes/PHOTO CREDIT: Pinterest
Many new artists, females especially, remaining independent – without a label and producing their own work – because of the lack of female producers out there. The situation is getting better but, compared to the men; there are far fewer women in studios – which is causing debate and issues. I know there are improvements and, compared to a few years ago; there is a greater number of women becoming producers. That said; the majority of the big album releases are produced by men; most of the artists I review, male and female, have their music produced by men. That is no indication of quality and a gulf: there are still problems around education, studio culture and a lack of real change. I know Music Production is taught in music schools and universities but that is not the case in schools. The fact music is not part of the syllabus in many schools – it is an option but not mandatory – means children are not being encouraged to go into production; discussions around gender equality are not beginning. I know more women are heading into studios but look at the new music we listen to and there are so many fantastic female producers either putting out their own stuff – or working with other artists under the radar. Established female producers like Grimes, Catherine Marks; Lauren Deakin-Davies and WondaGurl are considered among the best in the business.
IN THIS PHOTO: WondaGurl
Although a lot of new musicians are producing their own material and overlooking an expensive studio; I feel something should be done to make things more affordable and accessible. It is good musicians are taking control and learning a new craft. It is encouraging seeing that independence but there is still great value in the traditional producer. So many great albums have been produced by someone not associated with the artist – that professional who comes in and add his/her touch to the work. Costs are a big issue: many unable to afford time in the studio and having to do things their own way. I think an objective nobody can add so much to a band/artist’s work. There is this drive for musicians to take some initiative but, thinking ahead, the only way to ensure musicians and producers have a more sustainable and profitable relationship is looking at reasons why artists are going D.I.Y. It is interesting seeing how production has changed and the way new musicians are putting out their work – those in the mainstream do not self-produce as much as the underground. If we can strike a balance between D.I.Y. artists and those who can head into the studio – more equal than it is now – then I feel it will lead to a much more…
BALANCED industry.