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RECORDING PART 2
This is the story of John and Pete, two next-door neighbors who were good friends. One day John mentioned to Pete that he'd just been through a thorough annual physical exam and the results were all normal. Pete said "What a coincidence, so have I." Upon comparing notes, the two discovered that Pete's doctor did not require the same extensive testing that John's doctor had, yet they both charged the same amount. Pete said to John "You should try my doctor. I mail him the money and he mails me a list of excellent web sites where I can go online and diagnose myself."
Sometime later as John was returning from Pete's funeral service, he realized through his grief that sometimes you get what you pay for and sometimes you don't
What does this story have to do with recording? Well, the first and most important step in your recording project is your choice of producer. The producer is like the "family doctor" of your group. Our family has had the same personal physician for over 25 years. He knows the medical history of each family member and has gained our trust and friendship. This is the kind of relationship you should have with your producer because, if you choose correctly, it is likely he will be with you for your entire career. A good producer understands what you are trying to do and can get it done for you.
If you rewrote the story above so that John and Pete were discussing the "health" of their Gospel Music careers and comparing their producers instead of their doctors, I can assure you that it wouldn't be long until Pete's career would be dead while John's would be healthy, alive and prospering, because when choosing a producer, sometimes you get what you pay for and sometimes you don't.
Don't Let This Happen To You or Your Career
In the story above, we can almost laugh at Pete's lack of knowledge of how poorly he was being treated by his doctor. We assume that no doctor would be so unethical and no patient would be so naïve. If we use that that story to illustrate Southern Gospel producers and the groups they produce, we might also assume that no producer would be so unethical and no group would be so naïve, and yet, a group recently shared an experience they had involving a well-known Nashville producer. When they questioned why he wasn't present for their vocal session they were told "Oh Mr. X has speakers in his office and he's listening to everything we do." Ah, the wonders of modern technology, overseeing a vocal session from the other side of town!
In many cases I wonder if the individual listed as producer actually did the job of a producer or whether he just showed up to make sure the studio didn't catch on fire.
In my view, this illustrates one of the reasons SGM is as small a market as it is. We work very hard at being mediocre, and we are paying a handsome bit of money to these so-called producers to achieve this low level of success. We allow just about anyone to take the reigns of an artist's music and lead them to the heights of "Average". Our music is our most important product and we treat it with as much concern as where we will be eating lunch. Most SGM music artists pick out ten songs and show up at a studio to record with little or no preparation and even less concern about their style, or what their fans want to hear from them. They have no game plan as to the future of their music. They only know that "this is September and we always record in October, we better find ten songs quick and get down to "I.B. Deaf" recording studio or we won't have anything new to sell at our homecoming". And when their new CD arrives it will clearly say "Produced by Joe X", who showed up at the same time as the group, and left with "I.B. Deaf" recording studio still standing… "Good job, Joe!"
Why would a group settle and ACTUALLY PAY SOMEONE for this kind of sure-death treatment of their God-given talent and dream? Maybe it's because they are not aware of what a good producer actually does. So let's discuss what a group should expect from a producer.
WHAT IS A PRODUCER AND WHAT DOES A PRODUCER DO?
What is a producer and what does a producer do? In SGM that could be considered a trick question. Folks, this is serious business because it is God's business! Is He amused by the way some of us are "lollygagging" around and playing with it? I don't think so. SGM is an art form and a ministry that we have inherited from some of the greatest singers that have ever walked on this planet, men and women that worked hard, very hard, at being the best. Most of them are gone, and it falls to us to carry on and I am personally offended by the cavalier attitude that many artists and producers take towards this music. It is time for us to get serious about our music and begin treating it with the respect and care it deserves. If you are one of the artists, or a producer, described above please do us all a favor and turn in your singer or producer card immediately. Or, as my good friend Jim Hamill says, " practice about three more weeks….and then…QUIT!
If you want to have a long and healthy SGM career, you need a GOOD producer. Here are some of the things you should always find in your producer:
THE CHARACTERISTICS OF A GOOD PRODUCER
The producer leads the way in helping an artist establish a musical identity. One of the things that set leading artists apart is that their music has continuity and direction. This is a result of carefully choosing the right producer.
The producer should be present during every aspect of the recording and should supervise it. This includes overdubs and mixing. There must never be something done to your recording when the producer is not present.
The producer insures that the BEST technicians available are used for each step in the process.
Another key role of the producer is finding songs for the artist. It is your producer's duty to help you find songs. This is not a favor he's doing you: it's part of his job, and you are paying him to do so. A good producer is constantly on the prowl for songs for his artists, and no one is more thrilled than he when he pairs a song with an artist and produces a hit.
The producer doesn't have to be a musician but should have a solid knowledge of music and music theory. He should also have knowledge of their instruments and the capabilities of the musicians and the instruments
He doesn't have to be an engineer but should have a working knowledge of the equipment in use and be able to communicate with the engineer
He must have good people skills and the ability to direct musicians and relate his ideas to them in their language.
He is interested in having a long-term relationship with you and your group. If he is aware of the direction you have planned for your music, it will be easier for him to find songs that will mesh with your career development.
It is the producer's responsibility to hire musicians for your recording. Selection of musicians should be discussed and mutually agreed on by the artist and producer, but if a difference of opinion should arise, you should let the producer make the decision. You are expecting him to do a good job for you, and you should allow him to use people he is comfortable with.
Perhaps you are beginning to see that this business of recording is a serious under-taking. There is more to it than just picking out ten songs and showing up at a recording studio. I once heard something interesting about how the Government trains people to recognize counterfeit money. It's a simple process: They make them study the real thing for months at a time. The Government knows that once a person can quickly identify the real thing, they won't be fooled by a fake. The purpose of this article is to help you learn what a "REAL" producer looks like so that you won't be fooled by a fake. I suggest you balance what you have just read with what your producer did for you in your last recording. If you are satisfied that he measured up, send him a note or card thanking him for a good job. However, if he is found wanting, perhaps a pink slip would be more appropriate.
Next month we'll continue with recording.
I welcome your comments. You can reach me at (JavaScript must be enabled to view this email address)
God Bless You
Reader Comments
Preach on, Nick. IMO, there's no point in making a CD unless you do everything in your power to see it turns out better than the last one you made (or at least just as good). I can understand some group having a bad experience with a producer, but why do they go back to the same one? How is it that the "well known" Nashville producer in your article continues to work if he doesn't do his job? It's like a woman who won't leave her husband, because he only beats her once a week.
Nick, are you planning to do an article on the evils of "table projects?" Cheap, quick recordings by major groups that are worse quality than many local groups would be willing to accept. Just about every group I can think of other than the Gaither Vocal Band puts this mediocre stuff out there on a regular basis.
“Always acknowledge a fault. This will throw those in authority off their guard and give you an opportunity to commit more.”—-Mark Twain
Nick,Great advice. I totally agree that if you have chosen a quaity producer, you should trust his judgement, however, I'm just wondering, does there come a time when the producer is not getting the sound you are wanting and you should stand your ground? Or, is it the case that the producer is most usually going to be hearing the final cut in his head and you should go ahead and trust him.
Deon Unthank
SoGospelNews.com
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Written: 08/01/2004 
Author: Nick Bruno
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The Gospel Truth
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