This is part 2 of a two-part feature on pre-production with new clients. Click here to read part 1.
Sequential planning
An important preparatory step often overlooked is the practical sequencing of tracking on a production. For example, nine times out of ten in commercial music, the vocals are the most important element of the music. If this is the case in your production, then everything needs to work around the vocals. Finding out what the vocalist is most comfortable singing over in studio is a valuable piece of knowledge. Knowing which of your clients is the strongest and most competent performer out of their comfort zone is also important. Take for example a guitarist. If they are capable of performing to a click out of context of vocals or percussion etc. as a guide, then perhaps tracking them rough in advance could help introduce musicality into the tracking sessions at the very beginning. I recently created a fully emulated backing track for a song, just so the vocalist could perform over something musical because the other musicians were simply not available at that time. I know myself that the quality was tenfold from the first take as a result and it was worth three hours of programming in my own time to get that vocal result first time round. It is all about judgment calls, so making the best one early on ensures a smooth and effective production process.
Gauging Knowledge
A very important and hugely underrated element of pre-production is finding out where your client stands in regards to technical and musical knowledge. The majority of traditional producers speak both the language of music and technology, so it is important to know what language your client prefers when working. While it is important to enlighten your clients as to how it all happens (this creates surplus value for them while working with you and improves your chances of repeat business), being ultimately aware of their linguistic preferences will help you manage unpredictable problems in mixing, production, recording and arrangement sessions.
Timeframes
It is important for a client not to get the wrong impression in regards to how long it takes to record or produce something. Sharing important information about working processes and timeframes is not only a good way to manage a client’s expectations but also an important inclusive gesture that engages the artist in the production process. The last thing you want to do is alienate your client into thinking they don’t have a say in the outcome of what is essentially their artistic baby. Producing records is a team process, and teamwork spreads the burden of work and responsibility.
Mutual Targets
Keep in mind that the best relationships, inside and outside of music are built upon mutual trust. Keeping the interests of the client in sight at all times is hugely important. The reason it is crucial is that producers vary just as much as artists in the way they approach a production. Take for example Robert John Lange (Mutt Lange), a world famous producer well known for his work with major artists such as AC/DC, Def Leppard, and Bryan Adams, to name but a few. Lange was known for his almost mathematical approach to creating records. He often would track instruments chord by chord to achieve absolute clarity and sample drums hit by hit until they were perfectly constructed. While his almost scientific approach to production essentially erased the performance element in his record making process, Mutt Lange still wasn’t swaying from the mutual goal shared with the artist, which was to make unbelievable radio records. This process does however come at complete odds to the working process and ideology of many other producers and artists. Understanding the perspective your client is coming from at the beginning will define the approach you take while eliminating possible points of congestion that might occur as you go along.
Remember always that the studio is an expensive endeavor. Unless you are rolling on a blank cheque, the studio isn’t the best place for trying out ideas and writing songs on the fly. Pre-production is preparation, and whatever happens, you do not want to be obstructing efficiency by getting caught up in rushed production decisions when the clock is ticking and the tab is rising.
As that old saying goes, if you fail to plan then you plan to fail.
Denis Kilty is an Irish songwriter, composer, music producer and mixing engineer based in Dublin. – www.deniskilty.com