We did our new album with Sahaj Ticotin, we brought a bunch of riff/verse/chorus ideas and he yelled at us and we created magical specialness together 🤘
As a producer/engineer I can tell you most of the battle is getting musicians to see that changing of the song is part of the process. Great Video Trey.
@@XOChristianaNicole It's just your stylo, bro. A good producer/engineer can capture the rawness of what you like about the demo sound, and preserve that, but put it in a polished package that can work, and be consistent, on most playback systems. After that, it's just a matter of the size of the audience that likes the rawness of the demo sound, and the marketing ability to find all the members of that audience and put the music in front of them. They can still give you a thumbs up or a raspberry, based upon the quality of the song itself (independent of its embodiment in the recorded medium). Personally, I think the draw/quality of the demo sound is the freeness of the recording process, which includes several really important areas, and secondly the techincal freeness of the recording. First, there is a freeness of the recording process itself, usually the artist is closer to the recording process because demo recording is less "serious" or on a smaller scale/budget, like less people, less capital, less studio are required to make the recording. So, the artist themself is more involved, they're closer to the actual recording process, so their artistic vision is more prevalent in the many decisions that shape the sound of the recording that must be made to produce the recorded product, aka the demo. This often leads to more unique, nuanced sounding recordings, because the artist is realizing their vision, and not merely reproducing generic market trends. If you're one of the few people who like novelty and originality, the demo sound is a great place to find that. The second impact of the freeness of the recording process is that because the artist knows that the recording is JUST a demo, they're not performing to 80,000 at Wimbly in their head, so psychologically, the Artist is freer, they're under way less pressure (which for most artists is kryptonite, but not all, some thrive off the pressure, they actually need the pressure to get into the zone), so the artist can be more present in the performance that is going to be recorded without the pressure of a phantom audience/a record label that is more about selling product that producing art/the demands of the artist's fragile ego, they can be more fully in the emotional state of the music itself. Like if the music is fun, the artist can be playing in that fun state, or if the music is nostalgic, they can more freely enter that nostalgic state, and play the music in the nostalgic state, and manage to capture the vibe of the nostalgic state in the recording, etc. The second aspect of the demosound is just the sound itself. Because budgets are even smaller, less gear is put between the artist/the song, and the medium of recording. That may mean that the recording and the final produced product doesn't sound as "good", like, polished, fully sonicly realized, but the final product may have that raw, real sound that may be more appropriate for certain genres, and just generally some people have a preference for that sound.
I always explain it like this: A songwriter is like a scriptwriter on a movie. They produce the content that gets translated into consumable art. The musicians are the actors. They translate the written content into consumable art. The engineer is the cinematographer. They place the consumable art into a fixed medium that can be consumed. The record producer is the film director. They INTERPRET the script and direct the other artists in the chain towards a cohesive vision of the written art. The label is the film producer. They find the money to pay all of these people, locate resources, and organize the marketing team for the release of the consumable art to the public.
Except plenty of musicians have done multiple albums without a producer. Or at least the producer was actually the engineer as well, if not mostly that. I havent seen a movie made without a director.
I heard Rick Rubin play guitar in Guitarville next to Guitar Center in Sherman Oaks in the mid 1990's. He definitely knows music very well. He's a good rhythm guitarist. Tom Petty played Mary Janes Last Dance chords on an SG that day. TP sounded better than Rick, signed an autograph, and in fact played better guitar than I have ever heard anyone play, before or since. Tom Petty was a great guy and a great musician. After the Northridge quake Guitarville went out of business, just a memory now.
@@iaindunc1 So does Coltrane Taylor and I've been on that bashing train since 13 came out. Now Iommi and Geezer are backing up us naysers too, finally.
What a fantastic video. The biggest curse of being a musician is NEVER hearing music the same way before you picked up an instrument and/or became extremely serious with vocals etc. BUT once your a musician, you're a magician, creating sonic kaleidoscopes out of thin air that will never exist again (Live / Rehearsal/ Wood shredding) I guess that's a payoff ? PLUS free beer at shows (mostly) lol
Nah i can turn that off. Maybe it's a skill you can learn idk. Don't kid yourself, you can still hear music without seeing the gears turning behind it, or maybe you can see them turn but you don't have to obsess about them, as if something is going to go wrong if you didn't monitor the whole process. You can teach yourself to turn it off at will, or the other way around. To forget that a guitar is a guitar.
This is a great video, thanks man! I feel like the kind of producing that Rick Rubin specializes in is sorely under-appreciated in the metal world, where the emphasis seems to be on technical formulas at the cost of “vibe”. The problem is that all of that technical stuff is boring to listen to but most of us musicians don’t realize it because we’re entertained by breaking down the complexity and completely of it. We miss the fact that we’re making boring music. You seem to be on the other side of the fence, working to remind us that our jobs as musicians is to make music that people other than ourselves will actually enjoy. I appreciate what you’re doing!
I am an old school producer/engineer. I can also repair/fix gear, tune drums, and repair/set up guitars and basses. I am also musician/songwriter. I can program beats, and understand synth basics (despite not really being a keyboard player). As a result my role changes from project to project. In some cases I even call upon my chef background and cook dinners for artists. If I had to sum up the main common trait of all producers... A producer is a facilitator. Much like a Shaman during an ayahuasca ceremony. You're there to guide the whole project, support the artist musically and psychologically, hold a positive non-judemental creative space for the artist to freely explore ideas, make sure players and employees are accountable, but most importantly remain an unbiased objective listener as best you can be. Artists need to trust you. Trust that you'll be honest, respectful, discrete, gracious, and reliable. It's why it seems so obscure, because all of that can manifest in a number of different ways.
Rick Rubin keeps his feet planted right where he is, as exactly what he is, a deep appreciator of music, and having that outside perspective is really helpful
He has a whole podcast where he talks about his process a lot, along with other artist's creative processes. It's very insightful. I think he absolutely can propel a band to be their best, but he's also not for every artist. Every artist doesn't need a Rick Rubin, but when he clicks with someone, it really works. Like getting Johnny Cash to do "Hurt".
Happy to hear you Trey saying these things. I was thinking the same but i hadn't articulated my thoughts as much as you. But I really value the idea of 'vibing', which is something people might have a hard time understanding. From time to time I have sent some of my songs to people who 'dont listen to that genre' so I could have a good chance to have that same feedback of how 'it vibes'. I am hungover and not an english speaking person so imma post this nowwww and idgaf about typos much love and good vibes to you!
Very true. As a somewhat knowledgeable musician and composer I often find myself analyzing music more then actually listening to it - unless I really get "hooked" by it. And I think this is sort of me "tapping into the Rubin". Songs that really stand on their own catch my attention and I just flow with them, if something isn't really working or the song is boring; my mind starts trying to understand why that is almost out of boredom. So I think there is merit to what you are saying about us musicians having lost this ability to actually "hear" music, but at the same time I can see when you really get into a song in the same way I do, and you stop thinking about the theory or the production and just listen - so I think we still have the ability to appreciate and judge what makes us feel.
Thanks so much for this video dude. I'm a producer in a busy commercial studio and I can verify everything you've said. I'm so happy that you're demystifying all these details.
This is certainly one video that I wish that I could just keep SMASHING the like button a hundred times! It’s so the thing that millions of people don’t understand about one of THE most important aspects of HOW music in the last 70 years becomes the art that everyone loves ❤️
He’s not just a listener. He’s an OUTSTANDING listener. That’s what separates him from the average listener. Great vid. Many people don’t realize what the various roles of a producer are.
7:15 love how you demonstrated how we view our music here. I experience exactly what you are talking about as far as getting in my own way. Amazing video & production. Awesome 🔥
Well said. I'm surprised that you didn't mention A Year and a Half in the Life of Metallica when talking about what a producer does. Lots of great examples in that documentary when they were in the studio. Bob Rock was constantly pushing them to get the best performance possible. For example, he's the one that suggested that Sad But True be in D instead of E. Also, you could see how he pushed Kirk to get that amazing solo in The Unforgiven. I don't know if that album would have had the same impact if they didn't have Bob Rock producing the record.
Fuck Bob rock,he turned Metallica from being the #1 thrash band into a heavier bon jovi and it was the end of Metallica for thirty years until hard wired to self destruct but it was too late.metallica lost all their hardcore original fans but gained millions of yuppie fans
Without having finished your video (@ 2:02)this is what I feel a producer is... It's the person that cleans up your music for recording. They might not arrange your music but they advise you how to arrange it and accent it... They tell you when you're over/under playing they basically make the record appealing to the public
he is pure vibes, he sets artists up to make their best work, he hears things that nobody else may hear and brings them out, i dont like a lot of what he's worked on but i can see his process in real time. hes able to say yes to an artist and comfort them, perhaps making them believe they are in control while he is already ten steps ahead of them just squeezing out what he needs from them and molding what will probably be their best album of their career
Yep, I am a professional mixing and mastering engineer. Many many many artists get the roles confused. Especially the role of a mixer like myself and a producer. Great explanation!
You can look at Blood Sugar Sex Magic. RHCP was an unhinged mess of a band at that time with no clear direction. Rick Rubin came in and steered them into creating a coherent album that is also sonically one of the best records ever put to tape. He encouraged Anthony to try using his melodic voice more. He contained a very young Frusciante and got him focused. He worked Chad and Flea to tighten up the rhythm section. Rick Rubin is one of the best to ever do it.
I love Ricks philosophy and the artists he's worked with. Total legend! - Makes me wish I had a mini Rick Rubin in my head when I'm trying to write music!
A comparison can be drawn with movie making as well. Directors often times are not or were never actors themselves... because they don't need to be. They just need to make sure the story gets told in the best way possible.
I've always thought of the role as the sort of editor of the band. You know how authors have editors that destroy the author's manuscript and tell them all the ways the work needs to be improved so it's up to publishing standards. I' always imagined that was kinda their job.
He's a Master at getting the best out of a musician, Bob Rock is too,.. actually. It's just those little bits of advice to tweak a rhythm or beat into a killer riff or awesome groove that you would never think about unless you are on the outside looking in.
I think of them more as a conductor. The good ones have golden ears, intuitively understand arranging and are able to get musicians to play what they can hear your song become. Imho.
On a level as low as me recording my friend's metalcore instrumentals, the goal keeper analogy is spot on. I was stopping those bad ideas from making the cut.
Great video. Reading his book right now. He's like a life coach more than a musician which is possibly where the confusion of the general public has misunderstood the quote that sparked outrage.
Rick Ruben helps the artist get in the magic state to where they can create. removes the clutter. He’s not thinkin about the listener. He’s thinking about the musician the rapper the lyricist the songwriter, how do I get this person feeling connected to source. that space we connect to when we make amazing music. Very personal.
I think if the band knows what they are doing, then his job is mostly vibing, but from things I've heard, he talks to the musicians about what they are trying to do, and also what he hears in their music. He helps them to connect with the outside of the box things an avid listener thinks about when they hear an album, but they are actually hearing him out, as he can then also reach out and bring in other artists to help test ideas. For example, he can suddenly call in a string quartet or a dj to cut up the wheels of steel, or what have you. This type on interested understanding listener, can be truly priceless and hard to measure even what they did at times. I'm personally a visual artist, and when i had roommates and friends or what not that were around a lot while i drew or painted, and spoke to me about what they saw as it developed or even just spoke their ideas and traded philosophy with me, it made me usually work harder and gain a depth i wouldn't probably have reached otherwise. I couldn't even always point out what ideas they added, but the ones with good taste, and otherwise no skill were as helpful or more so than my artistic friends that i knew. Sometimes of course though, the wrong person can cause a block to occur because they aren't getting it, and can make you feel like you aren't transmitting properly. I think rubin often gets the artists that are blocked, and just helps to get them back on their own path, though sometimes might offer other paths when the person is still not getting a complete vision, because the record still has to get made, and someone needs to see the forest and not just the trees
I'm sure I heard a Slayer quote about Ricks involvement where one of them said he gets his name in the credit whether he enters the studio or not. so I guess sometimes he might be very hands off.
So, I remember this one session, where I did some work next doorish to Abbey Roads (main reason I did it, not quite cool, but near enough to cool to still be cool!). This producer was a friend of a friend. I was drinking at the time + had several many beers the night before. (this is relevant later). So, there's a huge selection of amps. My instinctual reaction was 'Gimmie teh beefy Marshall stack plez k thx.'. The producer had me record a few takes and he wasn't happy with the sound. He came in and explained. I listened, we discussed a little bit back and forth. I'm not massively argumentative. + he clearly had 10x worth of my experience and knowledge of studio stuff. Hungover me also was potentially more lenient than usual. (relevancy revealed now), so, he convinced me to play through this crummy, nasty, tiny little practice amp. Of all the amps, the one I never would have chosen in a million years. It sounded kind of rough in the room. BUT. He somehow made it sound incredible in the mix. Basically just had to admit he was right. Sorry for the essay, but long winded point thusly, that's a producers job to me. To be a fair, 'other' party who can objectively, probably get away with telling you/making you try things, you never normally would entertain. Sure success rate can vary. But, if the other musician I was with told me to change the amp I was using, I more than likely would have said 'Nah, You're dumb, gimmie all the Marshall immediately, and a coffee plez..'.😅😂👀✌️🙏
Love Rick’s work and the bands he has worked with. He may not be a musician but being that guy on the outside can definitely help. Hell look at Leo Fender; He created some of the best guitars and basses we use today and yet he didn’t even know how to play the instruments he was making.
The best Manager/VP I ever worked for had no clue about Computers and Programming. She was a Psychology major. She was incredibly at getting us to do our best and bring out our creativity.
I didn't know anything about music before I got into producing it. I was, and still am a great listener. I never went to school for audio engineering, or music design. Everything I learned was from paying good attention to details. I understand this very well.
i think he's a producer in a sense of connecting bands/artists to the A&R even though he himself had his own label company, Def Jam. Which is why he's oftentimes credited as the "Executive Producer".
Rick Rubin completely destroyed Linkin Park. They were the heir to the Nine Inch Nails and Depeche Mode, until he turned them into a corporate rock band with no soul. I love Rubin's work on The Beastie Boys "License to Ill"--and or with Run DMC and LL Cool J--but Linkin Park was a whitewashed sellout disaster.
@jaeeproductions I'm a Linkin Park Day 1 stan and I respectfully disagree. He freed them from their own perceptions on what Linkin Park was "supposed to be".
@@DJKuroh: And he destroyed the band in the process. Which is better? The first 2 Linkin Park albums, or the Rick Rubin era Linkin Park? As a producer, Don Gilmore towers over Rick Rubin's work with the band. I'll point to the melodies, the pulse, the songwriting, the arrangements, the high-quality production, and the slick mixes. I'll use "Points of Authority" as an example. That is up there with the very best of Mutt Lange's productions or that of Trevor Horn.
I'm a producer, and I actually guffawed out loud when you said, "Hmmm, DO BETTER." I have literally said to an artist, I love everything you're doing, just do it better.
Excellent vid! Speaking as a solo artist who has hired dozens of musicians - a producer books the studio and gets a good price, he calls the musicians and tells them what time to be there and what the pay is and deals with any pushback with that. He'll lean on the horn player to finish the arrangements so you don't have to do it. He'll tell you if you need to do another take, he consoles you when you've overwhelmed and worried about hemmorhaging money, he is there start to finish and he's not your girlfriend or your buddy. He'll yell at people who need to be yelled at, and he'll kick out the guy who hangs around after his part is done. He's a guy whose literal job is to be your eyes, ears, therapist, cheerleader, personal trainer and ass-kicker. No, he doesn't have to be a musician. Neither does the engineer. You're the star, baby! Good luck to all.....👍👍👍👍
In the techno/house sphere where everyone is their own producer the A&R often have this role. One foot in the club scene taking in and listening to new music all the time. And then taking that experience and feel for current trends to help lift the artists in connection to the label.
Fantastic breakdown! I never really thought of why someone like him would be so significant, offering random pointers in a field he isn't involved in from a traditional standpoint (i.e. he's not a musician), but you're spot on -- the biggest difficulty, especially for musicians that don't have decades of experience under their belts, is hearing their own music as a listener, and writing music honestly and uniquely but not losing connection with your audience. I don't think good art tends to be made by writing music exclusively *for* an audience, but having someone that listens as "the audience", and has a fantastic ear for music in that regard is invaluable. Like you say, not everyone can pull this off -- he just happens to have fantastic taste, and can articulate and direct where he thinks something should go, rather than just liking or not liking something he hears.
Enjoyed much! One thought occurred to me near the end: which engineers does he work with? House engineer? Bring in someone he's worked with before and thinks would "be a good match."? Just curious.
It's really funny that you bring up the mum example when specifically my mum was so ahead of the curve musically in the 80's and 90's Her demos were being turned down because "there's no chorus/structure" and her voice was too whispery, and basically she was the only one with a 4-track in our whole city during the 90's So in summary in the late 90's my mum was sounding like Billie Eilish and all the best blues, jazz and RnB musicians would come to OUR HOUSE to record their stuff and play on her stuff
I am definitely much more of a big picture producer, but most people in LA want a pop or rap producer. so it's tough to earn money. I also engineer okay and play instruments okay. The big thing about a big picture producer is making stuff happen, connecting the artist to the people who will make their sound the best. On top of that they are also great arranger and taste makers, but most of all they are great with people, which is probably the spot I lack (i hate herding cats as you put it). But yeah i always saw rick rubin more as a record label person than producer, but it's similar. He's essentially got veto power and a great ear for what works. also a common practice i do when reviewing mixes/songs is i'll listen to it look down and zone out and feel the music and see where it takes me. if something is off i'll look up and pause it and rewind. Cause something changed/didn't work there.
Having had some involvement in studio work and a ex band mate who went on to play Glastonbury tour the US and support Bon Jovi on a world tour. Producer seems like that third person who 1) has the technical skills to record an album 2) is the third person who covers every other area necessary (depending on the band- musical suggestions, direct ideas, just someone to talk to,, be the person who has a detached perspective with no emotional attachment to what has been brought to the studio, without role we wouldn’t have the music we have today. There’s nothing more vulnerable than playing or singing something that is often how you best communicate things from your depths of your soul. I’m a guitarist and what I play is emotion I can’t express with words (and I have a medical PhD) most bands would be simply unable to compromise and work cohesively without a producer. But that’s part of being human. Anything we create, express /reveal is a part of us. Similarly, most entrepreneurs only become successful because they chose the opposites of themselves to do the other c suite jobs - finances, operations. My band were locally being dubbed the British Guns n Roses (emphasis on locally!) all but the drummer went off to Uni (we all had parents who orchestrated the plan) whereas he lived with his uncle. He moved into a lock-up and formed a new band.. Ten years later I saw him in Rolling Stone pictured in the US with Richie Sambora. Meanwhile I had ‘entertained’ as a Uni lecturer and now a successful scientist, businessman and author. I still play ❤️ So I had to adapt. Now I have the experience where I recognise we all need someone we can trust and give them our trust. Im guilty of not practicing wheat I preach but we would all do better to put our health and happiness first (eg the crashing plane example ) then we can be reliable trustworthy friends/colleagues. We often make life so hard, especially in the digital age, when we are increasingly lonely and lie in bed replaying our negativity biases. Forgetting everyone else is going the same. Humans are way more tribal than we realise. The lives of the happiest people involve playing multiple roles - teacher to the young, advice from our elders, provider to for family etc. Notice producers commonly have calmness and wisdom from an early age. Constrast this with the stereotypical young frontman, often most self destructive and unhinged. Hence, the 27 club.
I really would like to have someone else mix master and produce one of my songs to really see what they would do that I didn't. How's it gonna sound different? How's it gonna sound if Bob Rock or Rick Rubin or mutt Lange produced it. I'd be interested in seeing exactly what they do to the track and if they actually like it? It's really a weird job!
I'm learning guitar for fun, but also because I've had feelings that I knew could be expressed in music if I only knew how to do it. "Operator" by Jim Croce is a great example of this. I have a lot of ideas for middle-aged to senior-age folks (*self-referential*) that I'd love to put in song. "Hurt" via Johnny Cash and Rick Rubin was a fantastic example of this sort of song. So, yeah, listening to a vibe and saying "That's what you're trying to do" sounds very important.
I heard somewhere that Rick Ruben suggested that Malcolm Young try heavier gauge strings on his Gretsch while working on the Ballbreaker album and that sound crushes through in a goof way. At least that's what I heard.
It's ok, I'm bitter too... 😂. You are totally right about us musicians keeping things too close to our chests sometimes and to someone else it might suck. I would love to work with Rubin. That would be amazing.
He's like the santa that keeps the presents for himself. This man is something. Can you imagen him as a producer. comes in,walks out. Goes to atm comes back and makes things gold just by pointing at things.
If you've never read "This is What it Sounds Like" by Susan Rogers (producer for Prince) you should check it out. Was a good read (and basically states what this video is saying).
I generally define Producer, could be TV, Movie, Music, etc, as the person whom is responsible for getting a product from Conceptualization to Distribution. There is a middle step of Actualization. Basically, take an Artist's idea, extract it from them in the best way possible, then spread it to the most people possible.
Great Video. Very well explained. Rick's a fantastic listener and more of an old school producer, the type of guy I used to love working with (unless I had my own opinion. I was only 17 though!) I grew up as a session player in some big studios in Scotland. The producers were the guys that sat around in the most comfortable chair, pointed and ordered coffee. There were 2 engineers that knew the difference between the black mic and the silver mic (they twiddled the knobs too) and a tape op who also was an expert at getting the wrong sandwiches! Nowadays, I'm all of the above, except I'm a terrible engineer!. As a producer my main job is to listen. Music is the art of listening! I am also a musician and composer too. If you imagine these skills as plug ins they go in any order, but it depends on what I'm doing (eg when I'm gigging I'm musician, composer, producer). Listening as a producer is like having a reference library of sound, but all in your head. I can suggest something and either find an example of what I'm referring to via a massive music collection or I can play it. The artist will then reimagine it to make it their own. Another important part is that you're not emotionally tied to the song. The composer, musician part comes in handy when I have to explain things in musical terms or write a viola counterpoint on a metal track! I use a couple of tricks when self producing to make sure I stay objective (Might get round to a video on that) and beer is always involved!
I'm producing a rock band right now. I change a lot in their songs going from lacking to more complete. I really wish I could work more with bands improving their songs. But it's a difficult career since most song writers are so stuck in their own mindset and will never let anybody else upgrade whatever they are doing.
Ah, the man behind the great sonics of Death Magnetic, World Painted Blood and 13. He used to be my hero until the late 90's and now I think he's a hack. There are plenty of top musicians (Sabbath, Slipknot) who claim he didn't do anything besides saying something like "listen to your first record" and was barely present during the recording. Yes, he made some awesome albums in the past but now his records sound like shit.
Have you ever worked with a producer? What did they do?
We did our new album with Sahaj Ticotin, we brought a bunch of riff/verse/chorus ideas and he yelled at us and we created magical specialness together 🤘
My best friend and bass player says Rick Rubin basically captures the best part of you, the part we usually skip by without stopping and utilizing.
They produce, duh.
I think it is very clear from the analysis what a Producer is/does/can be - it's that magic that you can't see from the inside out.
Trey this is your best beard. Simon Grove is best producer
As a producer/engineer I can tell you most of the battle is getting musicians to see that changing of the song is part of the process. Great Video Trey.
Absolutely
Lol, a manager once told me I have “demo-itis” because I tend to prefer demos over produced music.
@@XOChristianaNicole It's just your stylo, bro. A good producer/engineer can capture the rawness of what you like about the demo sound, and preserve that, but put it in a polished package that can work, and be consistent, on most playback systems. After that, it's just a matter of the size of the audience that likes the rawness of the demo sound, and the marketing ability to find all the members of that audience and put the music in front of them. They can still give you a thumbs up or a raspberry, based upon the quality of the song itself (independent of its embodiment in the recorded medium).
Personally, I think the draw/quality of the demo sound is the freeness of the recording process, which includes several really important areas, and secondly the techincal freeness of the recording. First, there is a freeness of the recording process itself, usually the artist is closer to the recording process because demo recording is less "serious" or on a smaller scale/budget, like less people, less capital, less studio are required to make the recording. So, the artist themself is more involved, they're closer to the actual recording process, so their artistic vision is more prevalent in the many decisions that shape the sound of the recording that must be made to produce the recorded product, aka the demo. This often leads to more unique, nuanced sounding recordings, because the artist is realizing their vision, and not merely reproducing generic market trends. If you're one of the few people who like novelty and originality, the demo sound is a great place to find that.
The second impact of the freeness of the recording process is that because the artist knows that the recording is JUST a demo, they're not performing to 80,000 at Wimbly in their head, so psychologically, the Artist is freer, they're under way less pressure (which for most artists is kryptonite, but not all, some thrive off the pressure, they actually need the pressure to get into the zone), so the artist can be more present in the performance that is going to be recorded without the pressure of a phantom audience/a record label that is more about selling product that producing art/the demands of the artist's fragile ego, they can be more fully in the emotional state of the music itself. Like if the music is fun, the artist can be playing in that fun state, or if the music is nostalgic, they can more freely enter that nostalgic state, and play the music in the nostalgic state, and manage to capture the vibe of the nostalgic state in the recording, etc.
The second aspect of the demosound is just the sound itself. Because budgets are even smaller, less gear is put between the artist/the song, and the medium of recording. That may mean that the recording and the final produced product doesn't sound as "good", like, polished, fully sonicly realized, but the final product may have that raw, real sound that may be more appropriate for certain genres, and just generally some people have a preference for that sound.
I always explain it like this:
A songwriter is like a scriptwriter on a movie. They produce the content that gets translated into consumable art.
The musicians are the actors. They translate the written content into consumable art.
The engineer is the cinematographer. They place the consumable art into a fixed medium that can be consumed.
The record producer is the film director. They INTERPRET the script and direct the other artists in the chain towards a cohesive vision of the written art.
The label is the film producer. They find the money to pay all of these people, locate resources, and organize the marketing team for the release of the consumable art to the public.
This needs to be copied and pasted on every TH-cam video related to music.
Except plenty of musicians have done multiple albums without a producer. Or at least the producer was actually the engineer as well, if not mostly that.
I havent seen a movie made without a director.
I heard Rick Rubin play guitar in Guitarville next to Guitar Center in Sherman Oaks in the mid 1990's. He definitely knows music very well. He's a good rhythm guitarist. Tom Petty played Mary Janes Last Dance chords on an SG that day. TP sounded better than Rick, signed an autograph, and in fact played better guitar than I have ever heard anyone play, before or since. Tom Petty was a great guy and a great musician. After the Northridge quake Guitarville went out of business, just a memory now.
He also produced and made all the beats for early Def Jam. Beastie Boys, Run DMC, LL Cool J....he made most of there songs.
In Geezer Butler's words on Rick Rubin: "I still don't know what he did"
I’d be curious to know what Rick says, it could be that he did nothing hahaha but who knows
Cory Taylor said something very similar and Kerry King too
@@iaindunc1because he couldn’t do anything for Slipknot. 😂 he just needed to leave them alone to make music for lost people. Haha
@@iaindunc1 So does Coltrane Taylor and I've been on that bashing train since 13 came out. Now Iommi and Geezer are backing up us naysers too, finally.
@@iaindunc1Corey Taylor already apologized for that commentary.
What a fantastic video. The biggest curse of being a musician is NEVER hearing music the same way before you picked up an instrument and/or became extremely serious with vocals etc. BUT once your a musician, you're a magician, creating sonic kaleidoscopes out of thin air that will never exist again (Live / Rehearsal/ Wood shredding) I guess that's a payoff ? PLUS free beer at shows (mostly) lol
I just wish I could turn it off when I listen to music for fun hahaha
@treyxaviermusic I do too, as a musician and amateur mixer I analyze songs all the time instead of just listening and enjoying it 😂
I fucking hate myself
Nah i can turn that off. Maybe it's a skill you can learn idk. Don't kid yourself, you can still hear music without seeing the gears turning behind it, or maybe you can see them turn but you don't have to obsess about them, as if something is going to go wrong if you didn't monitor the whole process. You can teach yourself to turn it off at will, or the other way around. To forget that a guitar is a guitar.
It’s amazing to have to someone like him in the studio, giving direction and a different perspective
Dude! Get the book! It’s sooooo good. He drops a ton of amazing info!
I think I will
@@treyxaviermusic clickbait sooo obnoxious. Even if you do the "haha but rly it was the opposite" clown shit. Just have a video man
His book is just a bunch of hollow surface-level bullshit in the vein of Dale Carnegie. Waste of time.
@@tweed0929whos dale carnegie?
Glad you pointed out that producer differs genre to genre. Especially going from hiphop to metal.
This is a great video, thanks man! I feel like the kind of producing that Rick Rubin specializes in is sorely under-appreciated in the metal world, where the emphasis seems to be on technical formulas at the cost of “vibe”. The problem is that all of that technical stuff is boring to listen to but most of us musicians don’t realize it because we’re entertained by breaking down the complexity and completely of it. We miss the fact that we’re making boring music.
You seem to be on the other side of the fence, working to remind us that our jobs as musicians is to make music that people other than ourselves will actually enjoy. I appreciate what you’re doing!
I am an old school producer/engineer. I can also repair/fix gear, tune drums, and repair/set up guitars and basses. I am also musician/songwriter. I can program beats, and understand synth basics (despite not really being a keyboard player). As a result my role changes from project to project. In some cases I even call upon my chef background and cook dinners for artists. If I had to sum up the main common trait of all producers... A producer is a facilitator. Much like a Shaman during an ayahuasca ceremony. You're there to guide the whole project, support the artist musically and psychologically, hold a positive non-judemental creative space for the artist to freely explore ideas, make sure players and employees are accountable, but most importantly remain an unbiased objective listener as best you can be. Artists need to trust you. Trust that you'll be honest, respectful, discrete, gracious, and reliable. It's why it seems so obscure, because all of that can manifest in a number of different ways.
Rick Rubin keeps his feet planted right where he is, as exactly what he is, a deep appreciator of music, and having that outside perspective is really helpful
What an incredible video. I stored it under my Favorites tab so I can keep coming back to it for perspective.
Great work
He has a whole podcast where he talks about his process a lot, along with other artist's creative processes. It's very insightful.
I think he absolutely can propel a band to be their best, but he's also not for every artist. Every artist doesn't need a Rick Rubin, but when he clicks with someone, it really works. Like getting Johnny Cash to do "Hurt".
What is the name of the podcast?
@@rumens.kovachev4186 Broken Record with Rick Rubin.
Happy to hear you Trey saying these things. I was thinking the same but i hadn't articulated my thoughts as much as you. But I really value the idea of 'vibing', which is something people might have a hard time understanding. From time to time I have sent some of my songs to people who 'dont listen to that genre' so I could have a good chance to have that same feedback of how 'it vibes'.
I am hungover and not an english speaking person so imma post this nowwww and idgaf about typos
much love and good vibes to you!
Very true. As a somewhat knowledgeable musician and composer I often find myself analyzing music more then actually listening to it - unless I really get "hooked" by it. And I think this is sort of me "tapping into the Rubin". Songs that really stand on their own catch my attention and I just flow with them, if something isn't really working or the song is boring; my mind starts trying to understand why that is almost out of boredom. So I think there is merit to what you are saying about us musicians having lost this ability to actually "hear" music, but at the same time I can see when you really get into a song in the same way I do, and you stop thinking about the theory or the production and just listen - so I think we still have the ability to appreciate and judge what makes us feel.
Thank you. I've been up all night and found this video. It is now my go to video if someone ask what is a producer and why do we need one.
Thanks so much for this video dude. I'm a producer in a busy commercial studio and I can verify everything you've said. I'm so happy that you're demystifying all these details.
Great video! Loved your insight!
This is certainly one video that I wish that I could just keep SMASHING the like button a hundred times! It’s so the thing that millions of people don’t understand about one of THE most important aspects of HOW music in the last 70 years becomes the art that everyone loves ❤️
Thanks!
he he, "smash" (on a rick rubin vid, no less)
this is an clear, comprehensive, compassionate explanation taking in to account the musicians', priducers', and non-musicians' perspectives!
He’s not just a listener. He’s an OUTSTANDING listener. That’s what separates him from the average listener.
Great vid. Many people don’t realize what the various roles of a producer are.
Probably one of my favorite videos you have ever done! Much love brotha!
Dude programmed all the beats for early Beastie Boys and LL Cool J...tell me what you've made this week that slaps as hard?
7:15 love how you demonstrated how we view our music here. I experience exactly what you are talking about as far as getting in my own way. Amazing video & production. Awesome 🔥
Well said. I'm surprised that you didn't mention A Year and a Half in the Life of Metallica when talking about what a producer does. Lots of great examples in that documentary when they were in the studio. Bob Rock was constantly pushing them to get the best performance possible. For example, he's the one that suggested that Sad But True be in D instead of E. Also, you could see how he pushed Kirk to get that amazing solo in The Unforgiven. I don't know if that album would have had the same impact if they didn't have Bob Rock producing the record.
Fuck Bob rock,he turned Metallica from being the #1 thrash band into a heavier bon jovi and it was the end of Metallica for thirty years until hard wired to self destruct but it was too late.metallica lost all their hardcore original fans but gained millions of yuppie fans
Well said. He knows how to bring out the best in people/musicians. He definitely has a gift
The editing on this one...*chef's kiss*
Without having finished your video (@ 2:02)this is what I feel a producer is... It's the person that cleans up your music for recording. They might not arrange your music but they advise you how to arrange it and accent it... They tell you when you're over/under playing they basically make the record appealing to the public
in french we call this job "réalisateur" which is the same word as "director" like "movie director"
he is pure vibes, he sets artists up to make their best work, he hears things that nobody else may hear and brings them out, i dont like a lot of what he's worked on but i can see his process in real time. hes able to say yes to an artist and comfort them, perhaps making them believe they are in control while he is already ten steps ahead of them just squeezing out what he needs from them and molding what will probably be their best album of their career
Yep, I am a professional mixing and mastering engineer. Many many many artists get the roles confused. Especially the role of a mixer like myself and a producer. Great explanation!
You can look at Blood Sugar Sex Magic. RHCP was an unhinged mess of a band at that time with no clear direction. Rick Rubin came in and steered them into creating a coherent album that is also sonically one of the best records ever put to tape. He encouraged Anthony to try using his melodic voice more. He contained a very young Frusciante and got him focused. He worked Chad and Flea to tighten up the rhythm section. Rick Rubin is one of the best to ever do it.
I love Ricks philosophy and the artists he's worked with. Total legend! - Makes me wish I had a mini Rick Rubin in my head when I'm trying to write music!
He’s not a producer, he is a consultant.
Great meeting you at 70K, keep up the good work. Life doesn't suck!
A comparison can be drawn with movie making as well. Directors often times are not or were never actors themselves... because they don't need to be. They just need to make sure the story gets told in the best way possible.
I've always thought of the role as the sort of editor of the band. You know how authors have editors that destroy the author's manuscript and tell them all the ways the work needs to be improved so it's up to publishing standards. I' always imagined that was kinda their job.
Great analysis and description and thanks to Hoobs for forwarding this :)
Wow, best video yet, what ever awards come with that, you won Trey
He's a Master at getting the best out of a musician, Bob Rock is too,.. actually. It's just those little bits of advice to tweak a rhythm or beat into a killer riff or awesome groove that you would never think about unless you are on the outside looking in.
I think of them more as a conductor. The good ones have golden ears, intuitively understand arranging and are able to get musicians to play what they can hear your song become. Imho.
On a level as low as me recording my friend's metalcore instrumentals, the goal keeper analogy is spot on. I was stopping those bad ideas from making the cut.
Great Video Trey! I love Rick´s beard the most.
I have to admit, I was completely ignorant to most of what you talked about. I learned a lot! Great video.
Great video. Reading his book right now. He's like a life coach more than a musician which is possibly where the confusion of the general public has misunderstood the quote that sparked outrage.
Rick Ruben helps the artist get in the magic state to where they can create. removes the clutter. He’s not thinkin about the listener. He’s thinking about the musician the rapper the lyricist the songwriter, how do I get this person feeling connected to source. that space we connect to when we make amazing music. Very personal.
Great video Trey! One of your best, really enjoyed it!!
I think if the band knows what they are doing, then his job is mostly vibing, but from things I've heard, he talks to the musicians about what they are trying to do, and also what he hears in their music. He helps them to connect with the outside of the box things an avid listener thinks about when they hear an album, but they are actually hearing him out, as he can then also reach out and bring in other artists to help test ideas. For example, he can suddenly call in a string quartet or a dj to cut up the wheels of steel, or what have you. This type on interested understanding listener, can be truly priceless and hard to measure even what they did at times. I'm personally a visual artist, and when i had roommates and friends or what not that were around a lot while i drew or painted, and spoke to me about what they saw as it developed or even just spoke their ideas and traded philosophy with me, it made me usually work harder and gain a depth i wouldn't probably have reached otherwise. I couldn't even always point out what ideas they added, but the ones with good taste, and otherwise no skill were as helpful or more so than my artistic friends that i knew. Sometimes of course though, the wrong person can cause a block to occur because they aren't getting it, and can make you feel like you aren't transmitting properly. I think rubin often gets the artists that are blocked, and just helps to get them back on their own path, though sometimes might offer other paths when the person is still not getting a complete vision, because the record still has to get made, and someone needs to see the forest and not just the trees
I'm sure I heard a Slayer quote about Ricks involvement where one of them said he gets his name in the credit whether he enters the studio or not. so I guess sometimes he might be very hands off.
This is really well presented. Thank you! ❤🎉👏🏻
This video was chalk-full of great insights and points I'd never considered. Awesome analysis!
Spectacular video, man!
If he was a musician, he would have realized Dani California was the same song as Mary Jane's Last Dance.
So, I remember this one session, where I did some work next doorish to Abbey Roads (main reason I did it, not quite cool, but near enough to cool to still be cool!). This producer was a friend of a friend. I was drinking at the time + had several many beers the night before. (this is relevant later). So, there's a huge selection of amps. My instinctual reaction was 'Gimmie teh beefy Marshall stack plez k thx.'. The producer had me record a few takes and he wasn't happy with the sound. He came in and explained. I listened, we discussed a little bit back and forth. I'm not massively argumentative. + he clearly had 10x worth of my experience and knowledge of studio stuff.
Hungover me also was potentially more lenient than usual. (relevancy revealed now), so, he convinced me to play through this crummy, nasty, tiny little practice amp. Of all the amps, the one I never would have chosen in a million years. It sounded kind of rough in the room. BUT. He somehow made it sound incredible in the mix. Basically just had to admit he was right.
Sorry for the essay, but long winded point thusly, that's a producers job to me. To be a fair, 'other' party who can objectively, probably get away with telling you/making you try things, you never normally would entertain. Sure success rate can vary. But, if the other musician I was with told me to change the amp I was using, I more than likely would have said 'Nah, You're dumb, gimmie all the Marshall immediately, and a coffee plez..'.😅😂👀✌️🙏
One of the best presentations on what a producer is and does is in a little tome called "Sound City."
Love Rick’s work and the bands he has worked with.
He may not be a musician but being that guy on the outside can definitely help.
Hell look at Leo Fender; He created some of the best guitars and basses we use today and yet he didn’t even know how to play the instruments he was making.
Absolutely loved your video ! Very precise and to the point on every aspect !!
The best Manager/VP I ever worked for had no clue about Computers and Programming. She was a Psychology major. She was incredibly at getting us to do our best and bring out our creativity.
I didn't know anything about music before I got into producing it. I was, and still am a great listener. I never went to school for audio engineering, or music design. Everything I learned was from paying good attention to details. I understand this very well.
Your best video imo. Great insight.
i think he's a producer in a sense of connecting bands/artists to the A&R even though he himself had his own label company, Def Jam. Which is why he's oftentimes credited as the "Executive Producer".
He's all of it. He's a producer in the hip-hop sense, a producer in the band sense, and he does a lot of Executive Producing too.
i mean, producers don't necessarily have to understand the technicalities anyway, considering when there are songwriters and sound engineers.
Rick Rubin completely destroyed Linkin Park. They were the heir to the Nine Inch Nails and Depeche Mode, until he turned them into a corporate rock band with no soul. I love Rubin's work on The Beastie Boys "License to Ill"--and or with Run DMC and LL Cool J--but Linkin Park was a whitewashed sellout disaster.
@jaeeproductions I'm a Linkin Park Day 1 stan and I respectfully disagree. He freed them from their own perceptions on what Linkin Park was "supposed to be".
@@DJKuroh: And he destroyed the band in the process. Which is better? The first 2 Linkin Park albums, or the Rick Rubin era Linkin Park? As a producer, Don Gilmore towers over Rick Rubin's work with the band. I'll point to the melodies, the pulse, the songwriting, the arrangements, the high-quality production, and the slick mixes. I'll use "Points of Authority" as an example. That is up there with the very best of Mutt Lange's productions or that of Trevor Horn.
what a great topic, Trey. Loved it
I'm a producer, and I actually guffawed out loud when you said, "Hmmm, DO BETTER." I have literally said to an artist, I love everything you're doing, just do it better.
Amazing video man. Eye opening.
The Limp Bizkit wordplay at 11:47 had me hollerin' with laughter! 😆😆 Well done, that was great 👍
Musician: the people that create the music.
Producer: provides a third-party view to help guide the musicians stylistically.
I got to meet him earlier this year, when I stick a mic through his beard. Dude just oozes zen.
Trey this episode is seriously awesome!!
Excellent vid! Speaking as a solo artist who has hired dozens of musicians - a producer books the studio and gets a good price, he calls the musicians and tells them what time to be there and what the pay is and deals with any pushback with that. He'll lean on the horn player to finish the arrangements so you don't have to do it. He'll tell you if you need to do another take, he consoles you when you've overwhelmed and worried about hemmorhaging money, he is there start to finish and he's not your girlfriend or your buddy. He'll yell at people who need to be yelled at, and he'll kick out the guy who hangs around after his part is done. He's a guy whose literal job is to be your eyes, ears, therapist, cheerleader, personal trainer and ass-kicker. No, he doesn't have to be a musician. Neither does the engineer. You're the star, baby! Good luck to all.....👍👍👍👍
In the techno/house sphere where everyone is their own producer the A&R often have this role. One foot in the club scene taking in and listening to new music all the time. And then taking that experience and feel for current trends to help lift the artists in connection to the label.
I’m a producer and I do everything from songwriting to mastering just because I grew up in poverty😅
Rick is my hero that’s for sure
When the music is good and the band is working great, you don’t have to do anything except show up and make sure it all gets done.
Exactly
Fantastic breakdown! I never really thought of why someone like him would be so significant, offering random pointers in a field he isn't involved in from a traditional standpoint (i.e. he's not a musician), but you're spot on -- the biggest difficulty, especially for musicians that don't have decades of experience under their belts, is hearing their own music as a listener, and writing music honestly and uniquely but not losing connection with your audience. I don't think good art tends to be made by writing music exclusively *for* an audience, but having someone that listens as "the audience", and has a fantastic ear for music in that regard is invaluable.
Like you say, not everyone can pull this off -- he just happens to have fantastic taste, and can articulate and direct where he thinks something should go, rather than just liking or not liking something he hears.
Enjoyed much! One thought occurred to me near the end: which engineers does he work with? House engineer? Bring in someone he's worked with before and thinks would "be a good match."? Just curious.
It's really funny that you bring up the mum example when specifically my mum was so ahead of the curve musically in the 80's and 90's
Her demos were being turned down because "there's no chorus/structure" and her voice was too whispery, and basically she was the only one with a 4-track in our whole city during the 90's
So in summary in the late 90's my mum was sounding like Billie Eilish and all the best blues, jazz and RnB musicians would come to OUR HOUSE to record their stuff and play on her stuff
Seeing the Big Picture. The hardest thing to do. The 2 part John Frusciante interview on his podcast is GOLD!! Producers need more love!!
I am definitely much more of a big picture producer, but most people in LA want a pop or rap producer. so it's tough to earn money. I also engineer okay and play instruments okay.
The big thing about a big picture producer is making stuff happen, connecting the artist to the people who will make their sound the best. On top of that they are also great arranger and taste makers, but most of all they are great with people, which is probably the spot I lack (i hate herding cats as you put it). But yeah i always saw rick rubin more as a record label person than producer, but it's similar. He's essentially got veto power and a great ear for what works.
also a common practice i do when reviewing mixes/songs is i'll listen to it look down and zone out and feel the music and see where it takes me. if something is off i'll look up and pause it and rewind. Cause something changed/didn't work there.
Having had some involvement in studio work and a ex band mate who went on to play Glastonbury tour the US and support Bon Jovi on a world tour.
Producer seems like that third person who 1) has the technical skills to record an album 2) is the third person who covers every other area necessary (depending on the band- musical suggestions, direct ideas, just someone to talk to,, be the person who has a detached perspective with no emotional attachment to what has been brought to the studio, without role we wouldn’t have the music we have today.
There’s nothing more vulnerable than playing or singing something that is often how you best communicate things from your depths of your soul.
I’m a guitarist and what I play is emotion I can’t express with words (and I have a medical PhD) most bands would be simply unable to compromise and work cohesively without a producer.
But that’s part of being human. Anything we create, express /reveal is a part of us. Similarly, most entrepreneurs only become successful because they chose the opposites of themselves to do the other c suite jobs - finances, operations.
My band were locally being dubbed the British Guns n Roses (emphasis on locally!) all but the drummer went off to Uni (we all had parents who orchestrated the plan) whereas he lived with his uncle. He moved into a lock-up and formed a new band.. Ten years later I saw him in Rolling Stone pictured in the US with Richie Sambora. Meanwhile I had ‘entertained’ as a Uni lecturer and now a successful scientist, businessman and author. I still play ❤️
So I had to adapt. Now I have the experience where I recognise we all need someone we can trust and give them our trust.
Im guilty of not practicing wheat I preach but we would all do better to put our health and happiness first (eg the crashing plane example ) then we can be reliable trustworthy friends/colleagues. We often make life so hard, especially in the digital age, when we are increasingly lonely and lie in bed replaying our negativity biases. Forgetting everyone else is going the same.
Humans are way more tribal than we realise. The lives of the happiest people involve playing multiple roles - teacher to the young, advice from our elders, provider to for family etc.
Notice producers commonly have calmness and wisdom from an early age. Constrast this with the stereotypical young frontman, often most self destructive and unhinged. Hence, the 27 club.
I really would like to have someone else mix master and produce one of my songs to really see what they would do that I didn't. How's it gonna sound different? How's it gonna sound if Bob Rock or Rick Rubin or mutt Lange produced it. I'd be interested in seeing exactly what they do to the track and if they actually like it? It's really a weird job!
I'm learning guitar for fun, but also because I've had feelings that I knew could be expressed in music if I only knew how to do it. "Operator" by Jim Croce is a great example of this. I have a lot of ideas for middle-aged to senior-age folks (*self-referential*) that I'd love to put in song. "Hurt" via Johnny Cash and Rick Rubin was a fantastic example of this sort of song. So, yeah, listening to a vibe and saying "That's what you're trying to do" sounds very important.
Great video. Very relevant. I had this discussion with other people as well.
I heard somewhere that Rick Ruben suggested that Malcolm Young try heavier gauge strings on his Gretsch while working on the Ballbreaker album and that sound crushes through in a goof way. At least that's what I heard.
Absolutely brilliant video!
Rick is a legend, thanks for clearing this up for people :)
Great video you should do a video in what the difference between a mixer and engineer are? (I honestly have NFC what it is)
It's ok, I'm bitter too... 😂. You are totally right about us musicians keeping things too close to our chests sometimes and to someone else it might suck. I would love to work with Rubin. That would be amazing.
He's like the santa that keeps the presents for himself. This man is something. Can you imagen him as a producer. comes in,walks out. Goes to atm comes back and makes things gold just by pointing at things.
I love the Pop Artist breakdown lol. Hey I’m here do you have a song for me??? Ok byeeeee
If you've never read "This is What it Sounds Like" by Susan Rogers (producer for Prince) you should check it out. Was a good read (and basically states what this video is saying).
Just started reading it at the weekend. Loving it already!!
I generally define Producer, could be TV, Movie, Music, etc, as the person whom is responsible for getting a product from Conceptualization to Distribution. There is a middle step of Actualization. Basically, take an Artist's idea, extract it from them in the best way possible, then spread it to the most people possible.
Honestly the hardest part of his job is having to listen to everything no matter how bad and not loose his mind
Great stuff man!
Is a producer for the album or a song just like a director to a film or movie?
super fantastic video, sir!
Great Video. Very well explained. Rick's a fantastic listener and more of an old school producer, the type of guy I used to love working with (unless I had my own opinion. I was only 17 though!)
I grew up as a session player in some big studios in Scotland. The producers were the guys that sat around in the most comfortable chair, pointed and ordered coffee. There were 2 engineers that knew the difference between the black mic and the silver mic (they twiddled the knobs too) and a tape op who also was an expert at getting the wrong sandwiches!
Nowadays, I'm all of the above, except I'm a terrible engineer!.
As a producer my main job is to listen. Music is the art of listening! I am also a musician and composer too.
If you imagine these skills as plug ins they go in any order, but it depends on what I'm doing (eg when I'm gigging I'm musician, composer, producer). Listening as a producer is like having a reference library of sound, but all in your head. I can suggest something and either find an example of what I'm referring to via a massive music collection or I can play it. The artist will then reimagine it to make it their own.
Another important part is that you're not emotionally tied to the song.
The composer, musician part comes in handy when I have to explain things in musical terms or write a viola counterpoint on a metal track!
I use a couple of tricks when self producing to make sure I stay objective (Might get round to a video on that) and beer is always involved!
I'm producing a rock band right now.
I change a lot in their songs going from lacking to more complete.
I really wish I could work more with bands improving their songs.
But it's a difficult career since most song writers are so stuck in their own mindset and will never let anybody else upgrade whatever they are doing.
As a composer/producer the most difficult part is actually keeping your music simple! Simple is not easy
They can help bring out your best. Like a head coach, he doesn't make the plays, he sees the overall game
WOW.. just WOW … Thank you for this GIFT 😍
Ah, the man behind the great sonics of Death Magnetic, World Painted Blood and 13. He used to be my hero until the late 90's and now I think he's a hack. There are plenty of top musicians (Sabbath, Slipknot) who claim he didn't do anything besides saying something like "listen to your first record" and was barely present during the recording. Yes, he made some awesome albums in the past but now his records sound like shit.