The Record Producer
Page 33
Chapter 3
Production Theory
The question that drives broadening the eclectic extent...

Hopefully, now you have the maturity to ask yourself, “Why don’t I
like that style of music?” This is what one must ask before any real
growth can occur. There are several reasons that others enjoy that
which provokes no emotion in your ears: environmental differences,
physiological differences, etc. You must put yourself in someone
else’s shoes to develop cultural respect and understanding. Club
music is usually received at a high volume, jazz is often received live
in small venues, if you wish to appreciate opera, then you should go
see some operas. There is a good chance that listening to one in
your car will be counter productive.

In time, you will begin to notice similarities that are congruent in all
styles of music. This is where I am today, and where you will be if
you apply this principle. This is also the foundation upon which the
rest of this book sits. As you continue reading through this book,
understand that these principles relate to all styles.

When you apply universal principles, your production decisions
become based on measurable cultural objectives rather than the
current emotional responses of those present in the recording
studio. The non-eclectic’s musical opinion is motivated by their
most recent emotional response.