Working With A Producer

By Fred Mollin

I'm talking to you, the artist.

You know, I've been doing this for an awfully long time and one of the things I can absolutely verify, is that it's important that you're on the same wavelength. Yes. The producer and you liking each other. Needing to know that not only will you get along well during the making of a record, but that you both have a sensibility that works and an understanding of what each other brings to the party, and in my case, clarifying to the artist that they have the final say in everything. It's your album. It's your face on the cover and it's the producer's name in small letters on the back.

There are a number of folks out there who are more "my way or the highway" kind of producers. I am much more about giving the artist the comfort and safety during the journey of making the album, as well as working as hard as possible to fulfill the artist's vision. In my opinion, if you meet with the producer and you don't feel that's the kind of person you're meeting with, personally, I'd run. Who needs another bully in one's life?

Also, I'm a very musical person. I play a number of instruments. I can arrange music, and that's my side of the fence. I personally do not engineer. I leave the engineering of a record to my choice of board wizards, both for recording, as well as mixing. The trust that I have established with my team over the years, allows me to know that they'll do their side of the effort brilliantly, especially under my supervision . The most important thing I underline is you, the artist, have the final say. No matter what kind of producer you have: An engineer/producer, a good, but non-musical producer who just seems to know what makes a great record, a guy who just smiles and rolls joints, or someone like me, please just make sure that you get the final say in everything.

A producer is a leader. And strong leadership is great, but when making a record, your producer should be working for the artist, and of course, in cases where a record label is involved, to be responsible to their needs. When I produce, I'm not making it for myself. I get my ego satisfied in other parts of my life. I'd be staying away from folks you think might feel the opposite.

Once you've met, and felt a great synergy with the producer, the next step is getting to know each other, both by listening to the material that you'll be doing, and having good long conversations about how you're going to approach the songs - how you are going to record them, and perhaps you might even suggest to the producer other recordings that you've loved, that give the producer an idea of what you like.There's no shame in saying that there's a song you wrote that you wish could have a groove like something else you heard on another record. That really helps everybody.

There's also a lot of laughter that can happen with the right producer. And the feeling that you're not under pressure. That's what I try to give my artist - a feeling of true joy and the absence of any negativity. It should be a wonderful journey and it's up to a producer to help that reality. What I try really hard to do when I'm working with an artist. whether it's a veteran, a legend, or a new artist, is to give them a safe place to be as creative, passionate and happy as they can be, during the making of their masterpiece.

As for me, I'm still loving every project I have the good fortune to produce and will always be open for more studio adventures. It's a great musical life.

Fred Mollin is an internationally respected musician, songwriter, producr, film and TV composer and author of Fred Mollin: Unplugged.

Website - www.fredmollin.com