The Record Producer
Page 18
Chapter 2.
I have shared my failures with you. Now, I would like to share with
you my current techniques in selecting; selecting people, selecting
songs, selecting parts within a song.
It’s the summer of 2001, in Power Pye Studio’s control room,
in Carnegie, Pennsylvania. The engineer, lead singer/ co-producer
and I stand in the control room, listening to the songwriter/lead
guitarist/rhythm guitarist/background singer/ co-producer butcher a
backing vocal line on the other side of the window.

Take 27 – “Oh madam, you are eve.”
The lead singer/ co-producer has become tired of tracking this line.
“Again,” I announce via the intercom.
My 1st co-producer chimes in, “I thought that sounded
good. Come in here, let’s listen to it again.”
Thus, we once again solidified the failure that album was. It was a
collaborative production attempt. It combined the production
knowledge of a singer, songwriter, and producer. As that producer, I
have written this book to save future producers my frustration. Never
collaborate on production, never fold to anyone else’s opinion in the
studio, and make sure that your word is final before embarking on a
new project. Today, when I say, “Again,” don’t argue with me, just do
it. Otherwise, you will be fired.

Producers not only need this power, but must exercise this power, to
produce effectively.