Producers are people who get things done.
They get "product" out and into the market..
Successful ones are people who get the product sold
for a living income for all involved
The ones who make the best income are the ones
who sell to the largest audience,
and stay in tune with what that
continuosly changing market place is paying for.
There are certain production rules you can't avoid when producing for the mass market.
The producer, while often an artist himself in some situations,
is also a constructor within the parameters of what works.
Sure you can play VII minor major7 chords...
but where in a popular production would that go?
You could do that in the 30-40's but not today.
It is a very cool chord, but too much for most kids ears.
If we as "artists / instrumentalist" don't want to sell to that larger market,
then that is OUR choice.
You can go "create art.", and feel satisfied.... and work a day gig.
But if we also want to make a living from it,
we have the option of using the prevailing construction techniques,
and making something salable.
As an example Paul Franklin works on many pop country sessions,
and has a good handle on where steel fits into the modern country motif.
Whether he actually likes this current style he keeps to himself,
but he clearly understands what is needed.
But he ALSO goes home and does his Christmas songs,
and Spiro Gyra songs, that only play on steel radio.
And gets out and plays with The Players where he can stretch out and just blow.
ie He has decided that ALL 3 aspects of his playing can find a place,
and he sees no reason to cut out one,
just to have the other two.
Paul has produced his own material,
and worked for top level producers,
and we all love what he does.
I am both artist and indie producer, each hat is a different view
on how the song or composition is done.
As some of you know I can, and do, produce in many different styles;
commercial, "period commercial", or retro or avante garde.
If I draw the line at looking at a song and it's projected market only one way,
and only produce it in ONE style,
I could likely short change the material.
I could also produce the same song in 5 completely different ways,
using many of the same players,
but in different ways.
And would likely look to use each players personal strengths
in the best way, to support the production style.
The rare and best producer is the one :
Who gets an artist in his prime of creativity
Gives them a wide scope of experimentaion in pre-production
Finally pins them down to general stylistic over view
before the studio session commences.
And then sticks to it throughout.
Makes sure there is 2-3 comercially viable songs produced
close to the current markets wants,
with just a touch of different to them
And makes sure it is all cleanly recorded and produced in a compatible style ;
something connecting the whole album to itself, and to the artists previous work.
Gives the artist space to stretch out and be themselves, show growth,
while still maintaining that access to the commercial market, ie
making sure the artist is sustainable
as a business over the longer term.
Why starve for art if you can be an artist AND eat well too.
Remember a "one hit wonder" with the right contract, can get royalties for decades.
2-4 hits can make you comfortable for life,
and able to produce whatever art you want in the future.
This ain't a bad thing.
So producers are often looking after the long run
best intersts of the artist they are producing.
Their job is not to look after the best interests of the hired sidemen.
Even if the best producers will try to get the best out of their sidemen,
and treat them well too.
<font size="1" color="#8e236b"><p align="center">[This message was edited by David L. Donald on 14 May 2005 at 01:07 PM.]</p></FONT>
.... (gotta love those deadlines...)
