Any suggestions for a good book on producing?

[brady]

I've been engineering for a little while and would like to learn all I can on how to be a producer. I've looked on the net for some free read-ups but didn't really learn anything that I didn't already know.

One thing I definitely want to learn more about is communication and terminology between the producer and artists. There are crazy amounts of terms that will take a while to get my head around. :confused:

The books I've been seeing in stores generally explain the business side of producing but I'm looking for something more...

Thanks in advance!

[Sandyrb]

Hi Brady, nice to see you on MTM. :)

I've been engineering for a little while and would like to learn all I can on how to be a producer.

I found "Mixmasters" by Maureen Droney to be an excellent book in terms of finding out some of the gear and techniques which some of the famous name dudes use.

"The Art Of Record Production" by Richard James Burgess is supposed to be really good but I've not read it myself. George Martin's "All You Need Is Ears" is reputed to have some gems in it too. Actually I seem to recall there was a thread about books on this very forum *but* I have no idea where it would be now.

When I was a young land something that really helped me was to watch "making of" documentaries about well-known albums and stuff and to observe how the producer interacted with the band. Sort of gave me a grounding on how to behave meself. :)

Cheers,

[Mixwell]

Ah, Swahili! I am fluent!

The BUZZ words are USELESS to a very large extent in real world application, but let me tell you why there is such frustration through "doofy ill chosen adjective banter" quoted by SIR WW,

COMMON GROUND. You gotta have it to make any headway or sense.

EXPERIENCE and well spoken and articulated expression and communication is a HUGE percentage of being an AE.

I wouldn't pretend to know how to be a musical director or producer, but lets just say I give a god damn about what I record and who I record.

Though I am not exactly skilled in musical theory/composition, its easy enough to know what you like, what you hate - and the technical sense of right and wrong.

I mean - if this were easy, we'd all do it now wouldn't we.

For me personally - there is a fine line between engineering and producing [coaching/helping/guiding/training/head shrinking......

You have to be ready to walk on a different side and there are many sides. Its all a toss up if you give a sh#t, or there another mook over your shoulder mumbling that he needs more flagellation in the platypus region.

I think as long as you can identify with something you can possibly, hopefully - explain yourself, you will be alright - Simple as that. It ain't right or wrong, its subjective. And that's the way it will always be. You gotta reach common ground with other individuals and be able to occupy their mind with an outside influence/opinion that matters to them, based on a more critical role in the process. Just listen to records you like and make the music that is in your heart soul and mind. End. Books are nice, but you gotta get more experience no matter which way you slice the pie.

peace

[Seaneman]

I have spent many years trying to figure out exactly what makes one a producer, verses an engineer etc. and I've distilled it down to this maxim. "a producer gets paid to always know what's cool."
Many of you on this forum will probably jump on this and try to tear it down, but I think if you let it settle in, you'll agree. I have recorded with seven grammy winning producers, and they all have some simple things in common. They were smart enough to have excellent engineers around at all times. They always made the artist feel like what they were doing was relevant. They knew how to edit songs without ego. They all always made everyone on the session feel like it was going to be cool, because they knew what cool was, and they were going to get us all there. They all had that leadership that made you trust in their decision making. They believed in themselves, they believed in you, they believed the finished record would end up greater than the sum of its parts. Who wouldn't want to work with that. Engineering can be figured out. Parts can be figured out. Financing can be figured out. Cool, that needs to just be there, pervasive and intrinsic. If you can be that confidant guardian of " the Cool", you will be a good producer.

[pauly]

I have spent many years trying to figure out exactly what makes one a producer, verses an engineer etc. and I've distilled it down to this maxim. "a producer gets paid to always know what's cool."
Many of you on this forum will probably jump on this and try to tear it down, but I think if you let it settle in, you'll agree. I have recorded with seven grammy winning producers, and they all have some simple things in common. They were smart enough to have excellent engineers around at all times. They always made the artist feel like what they were doing was relevant. They knew how to edit songs without ego. They all always made everyone on the session feel like it was going to be cool, because they knew what cool was, and they were going to get us all there. They all had that leadership that made you trust in their decision making. They believed in themselves, they believed in you, they believed the finished record would end up greater than the sum of its parts. Who wouldn't want to work with that. Engineering can be figured out. Parts can be figured out. Financing can be figured out. Cool, that needs to just be there, pervasive and intrinsic. If you can be that confidant guardian of " the Cool", you will be a good producer.

great response. i agree that knowing what good is and the confidence to push in a positive, constructive way, while being clear will make for a good producer. and yes everything else can be figured out.

i think whats harder is establishing rates for your services as a producer and having bands actually pay you and all the other fees associated with making a record. calling oneself a producer is pretty easy thing to do.

[Seaneman]

Yes indeed. Pauly is on point. What is your time and perpective worth in dollars? Keep in mind, If you are going to talk and walk like a producer (with no track record and name value yet) many people will expect you to offer spec time in exchange for some sort of back end or right of refusal if they get a deal. I always tell anyone I am producing for, that I automatically become a co-writer on songs I produce. (at least a token percentage) that ensures a piece of pie if it makes money. If I spec, we agree if they get any deal, and I will not continue with them, they pay me and my guys at my highest rate for the recording we have done already. Remember, no body likes an over protective Dick who thinks he's a contract lawyer, but a verbal agreement is worth the paper it's printed on.

[Tomasz]

Um... "the daily adventures of Mixerman", anyone... granted it's not just about production, however, the actions of "Willy Show" the producer, can be learned from....

Aside from the fact that it is truly a supreme read...

[brady]

I'm actually about 2/3 through "The Daily Adventures of Mixerman".
I agree it is a great read. Thus far I haven't been learning much from it, but I have learned to carefully choose every word that comes out of your mouth...