Most of what’s below involves communication and teamwork – the job of both parties. But many artists and songwriters are at a disadvantage. To you the recording studio may be a relatively (or totally) foreign environment. The producer is there every day. This makes honest communication with your producer all the more essential.

In the same way each artist is different, and producers have to learn what works best in dealing with each of them, so too do artists need to get to know their producer. Ideally, as you work together you learn how to help each other make a better end product.

Let’s define some terms. I’m speaking of the modern producer – that is, a man or woman who combines at least some aspects of engineer/arranger/musician/mixer along with more traditional producing functions. When I use the term ‘artist’, I’m referring to the songwriter, who’s often the singer/artist as well.

Here are some suggestions for you when choosing a producer:

 * If you’re paying the producer, you are the boss. This doesn’t mean you should throw your weight around… but it does mean you’re entitled to be listened to, heard, and to have the final say-so (unless otherwise agreed-upon). As I said above, the studio is probably more the producer’s environment than yours. You’re hiring a professional (I hope). You’ll very possibly be intimidated or confused at times. That’s normal. Just don’t let yourself disappear.

* Before you work together, discuss with the producer the degree of collaboration you want.  Do you want to be involved in every bass drum hit and reverb setting? Do you want to know why the guitar part is being played twice and what that’s called (‘doubling’)? Or do you want to say, “Wake me up when it’s time to do the vocals”? Or, if you’re not the singer, “Call me when the mix is done”? Most will be somewhere in the middle. But talk about it beforehand – some producers enjoy collaborating and like a lot of input; some don’t. Some are fine either way. Having a good fit here is important.

* Also before you work together, make sure you listen to some of the producer’s previous productions. You’re not listening for something that sounds exactly like you want to sound (nice, but not common). You’re listening for a sensibility in the sound and arrangements that resonates for you.

You’re also looking for sound quality that’s not only appropriate to the music but that’s also highly professional. You’re aiming for a sonic upgrade, so your stuff will sound on the level of the recordings of the artists you admire and listen to (or, depending on your aspirations, divided by your budget, at least close).

Remember that you might really hit it off personally with the producer… but the way their productions sound may not feel right for you. Or vice versa. Try to get as much of both as you can.

* Once you get into the process, even if you’re not ‘hands-on’, don’t be afraid to ask what’s going on. When you go into the studio, you don’t just get a recording of your song, you get experience. If you’re not interested in the technicalities, only in the result, that’s fine. But you should follow the process, even if it’s in an overall way.

Recording is a craft; it’s (mostly) not magic. If you want to, with today’s technology you can learn a lot about it and eventually do a pretty good job of it yourself. If that interests you, pay attention!

* I strongly suggest making sure that you record a scratch (rough) lead vocal before the track is too far along. It’s dangerous for anyone to get too far in on a track without having the melody, words, and a singer’s voice (preferably the singer, though that’s not always possible) in there to constantly refer to. (This obviously doesn’t apply when the track is written before there is a melody.)

*  Be patient, particularly at the beginning. One of the most challenging things in the studio for a less experienced artist is that when a track is being put together, things can sound very strange until enough of the pieces are in place. Think of a track like furnishing an empty room. With just a couch and unpainted walls, it’s not going to look too good. But if you’re patient, when the paint job is done and the rest of the furniture is there, it’s a very different story.

Same with a recording arrangement. Give it some time to come together. (But don’t be afraid to ask what the plan is. If the producer says something like, “I’m not sure yet…”, that’s not necessarily grounds for panic. This can be where you give the producer some rope – often dictated by your budget – and see what they do with it).

Even the most open producer needs to be left alone sometimes, to follow a musical or sonic path. So sometimes it’s good to wait until that flurry is over. Like most of this process, it’s a good thing to talk about. Ask the producer to tell you when it’s their time to go down the rabbit hole, so you can leave them alone while still knowing what’s going on.

Working with a producer on your music can be a big step – hopefully a big step up for you artistically and commercially, due to the producer’s expertise. Like with anything, you can never be absolutely sure how something’s going to go until you’re in it. And… nothing’s perfect.

But look around, shop around, ask around… ask questions. I hate to make this comparison, but when you go to the doctor or dentist, you don’t have a medical degree, but you still have a right to ask them to explain things to you until you feel a comfort level with trusting them with your health… and your money. Same with a music producer and your songs… and money!

I’d love to hear your ideas and experiences; I know there’s a lot more to be said on this subject.

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