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 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.
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.
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.
@@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.
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..'.😅😂👀✌️🙏
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
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 ❤️
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.
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.
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".
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!
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
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.
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!
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!
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.
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.
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.
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.
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.
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.
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!
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.
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 🔥
I once gave a suggestion to a friend who makes music, this while i was taking a dump and this advice was relayed by whatsapp. I guess im a producer now.
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
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.
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.
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.
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.
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 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.
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.
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.
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.
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.....👍👍👍👍
I like to take a step back from a song when it's about 75% done and completely forget about it for about a week. Then I'll listen to it pretending I'm a random person hearing it for the first time to get that "objectivity" and to see what stands out immediately
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.
Thanks for this video, you break down something people often THINK they know what they're talking about. I am a self-producing blues and metal artist, but I am so blessed to work with a smart and experienced engineer that can easily put on a producer's hat. I always grant him a co-producer's credit, because his input is so valuable, even if we ARGUE at times! Sometimes I say "just push the damn buttons!" 😆 But he is often right.
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'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.
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.
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.
When I looked at what Rick had done with Linkin Park, I realized he was approaching what they do with more intuitive nature. The band had one sound but didnt want to be stuck sounding Nu-metal Adjacent. His influence paved the way for their more melodic electronic sound. He was pretty aggressive with training the band, which was met with reasonable frustration/anger. Without him though i dont think Linkin Park would be as large as they ended up back then. He represents the ear of the people and therefore the industry. He is definitely a calculated corporate entity though.
Even though he knows nothing about making music, his influence over music is so apparent and undeniable. Youd be suprised to see what huge projects hes consulted for. Slayer, the mars volta, so on
I love Rick Rubin so fucking much. He knows what is good and he knows how to find the good in people. Most importantly, he's the definition of goals... Laying and sitting with his eyes closed like a sage until he says "that one!🧘♂️" 🤣
I took a college music business class some years ago. The professor was a former A&R Administrator at A&M Records. When going thru all the different people and steps involved The the creation & release of a song he asked the class what a producer’s job is. After we all gave our Annette’s for what we thought he told us “The producer’s job is to get the best performance out of your artist as possible.” He said a producer could do things like engineer or mix or write but that was not their main job as producer. The producer’s job is to get a great performance
Rubin's track record speaks for itself. What does he do? He helps people cut through the clutter, get out of their own way, and let themselves pour into their own work. Sounds like nothing, but too many artists do get in their own way and - again - Rubin's track record speaks for itself (Johnny Cash's Hurt, every RHCP banger, Reign in Blood, etc)
One of the hardest things for a musician, is hearing their own music through the ears of someone who is not a musician. From that perspective, a producer, who’s not a good musician would be ideal to get an outside perspective, and if that producer had good taste and not too much ego and loves music over money then you’re probably gonna get a pretty good record.
I submitted my riff-to-song challenge song on a Friday stream and Trey was like "... it's nice and all... BUT... couldn't you like double the bass riff on guitar or something...". This wasn't all he said, but to me it was more a verdict that the song was too shallow, and needed more to keep the listener interested. So in my attempt to take his advice, verbatim, I developed several variations on the bass riff on both the bass and lead guitar. These variations still fit the feel (because they began as doubles of what was already there) and helped make the guitar solo more interesting (at least to me) ultimately giving the listener a few more stops along their journey (but lets be honest, it's a 3 minutes boogie-fest like most of my songs are, anyway). While developing those variations, I also heard something that was missing... synth (i think Trey mentioned that too). Anyhow... i had pretty much thought the song was done... but one small comment from an objective source proved it wasn't.
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.
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.
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.
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!
When Rick says he 'doesn't know anything about music' - I'm fairly confident this isn't the whole truth so much as a comparative reflection on the entire scope of "music" - history, theory, practical application, etc... He might not know what the 5th chord in a G Minor Mixolydian scale is - but hes still able to tell you what sounds "good" in his opinion. As a Recording Engineer and Producer myself, I've always found the role more akin to a sports coach. Some projects your helping flesh out and write alongside the artist, and in some cases having some actual musical theory or basic ability on an instrument can help communicate and facilitate ideas, but it's not necessary so long as producer and client can communicate adequately. In other cases your simply making musical judgments; "I liked the first take more than the second" - and in this capacity your acting more like the artists personal audience, a third party to gauge the quality of the project at any given stage. More traditionally Producers were hired by Labels to manage recording projects - facilitating between artist and Recording Engineers in professional studios (The Recording Engineer had enough to worry about, what with all the tape splicing and signal routing) and probably insuring artists adhered to a "sell-able product". The role has evolved as music and technology has over the years to include a vast array of services for artists. In some sense, Producers these days are a sort of 'Jack of all Trades', in other cases they don't seem to do much of anything at all - maybe just a vibe. Rick, however, is a fucking gem of a human being, and I would gladly pay his hourly rate just to have a cup of coffee and hear some of his stories. Cheers~
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.
Lol, i actually have been in a horrid mood today, just in a slump week i suppose you could say 🙃,but i genuinely found this video to be so randomly interesting. Thx mister
Thanks for this video. Yeah, the job of Producer is not only sometimes vague, but highly varied. I have produced a few projects, & it is definitely a thankless gig. You get all the blame, but little of the praise. But for myself, I see the job as "facilitator," more than anything. You figure out how to get the artist "there." That may mean being a Drill Sargeant, &/or Therapist. I think Rick is def that kind of Producer. He sits back and gently guides the process, allowing the artist to be their best, prodding when necessary, praising when necessary, purging when necessary. But for anyone, Rick included, to imply that he knows nothing about music is just misleading, if not just bullshit. There is a huge difference between not having "technical" knowledge of music (theory, performance skill, or even know the difference between Hard Knee & Soft Knee compression, etc) & not knowing anything about the art form in general. Rick might not know a Send from a Return, but he has something you can't just learn,...he has phenomenal MUSICAL INSTINCTS, esp pertaining to what works & what doesn't. (Parroting you here, but you were just dead on.) The fact that he ISN'T a musician, or engineer IS an asset, as that allows him to just listen. He doesn't have the added filters of using "guitarist ears," or "engineer ears," etc- all of which can distort the essence of the true listening experience. And because he doesn't contribute "technically," let along have to fight an urge to think, "I would play that differently/better,"etc. He doesn't write or play music, so there is a whole lot less of a tendency to instill his own "style stamp," on someone else's music. He doesn't have to be pigeonholed. Recording music is about more than microphones and quantizing (gasp!), it actually has a huge psychological proponent. It is about pushing the artist to be their best, & while sometimes that means being critical & strict, but just as often, it means helping get shit out of their way, mentally. Creating the mood, creating a safe place where it is OK to fuck up as you are reaching for the next level. As a Producer, you need to figure out what will spur/spawn the most success, the best performance, & if necessary, adjust the arrangement to best showcase the song. Rick excels at that. He instinctively just generally knows what sounds good, what could sound better, & even when an artist should stop pushing. He also has a knack for pairing songs with artists. "Johnny Cash sings NIN" sounds almost like a joke in passing, but then you hear "Hurt," & you realize that not only does it fucking 'work,' but it rivals, maybe even exceeds the emotional impact of the original. Regardless, you realize that your world is just fucking better because you were fortunate enuff to hear it. I say, if Rick Rubin "knows nothing about music," I PRAY to some day be just as ignorant. Thanks again, T.
A music producer is parallel to being a film director--specifically, an auteur film director. Many music artists don't know how to arrange a song properly, or how to write a good song. A producer is a quality control person. His/her job is to make you, the artist, sound professional and commercially viable. The producer will look for a proper song hook/chorus for the artist. He/she is specifically looking for a commercial repeatable refrain in that hook/chorus. If your listeners can't sing the hook/chorus within 2 passes of the hook/chorus--then you have failed as the artist/writer. As well, if a soccer mom...or a teen kid can't sing your hook/chorus...or doesn't want to--you have also failed. Producers look to seed songs with melody and color notes. He/she will want the hook/chorus to stand out from the verse sections. You want the hook/chorus to erupt like a volcano, thus said has to be bigger and more defined than the verses and bridges. The song must be slick and fun, hence...you'll need to stop your musicians from crowding a song with unnecessary solos, fills, time changes, and vocals--you want spaces so the song can breathe. A producer is there to deconstruct any issues with musical train wrecks, where there is too much of something (such as competing instruments), or he/she must know when to add to a song when there is not enough of something. On such an occasion, he/she may have to officially...or unofficially engage in the process as a songwriter. Why? Many band members fight for the spotlight. 1 or 2 of them may be great at songwriting, where the others who are lacking...act out of envy and greed. The latter group are obstructionists, who get in he way and cause clutter, infighting, and overall anarchy. This is destructive to the creative process. As the producer, you say what goes...and whose writing is crucial...or not. Further, a producer is there to make certain that you are playing in key...and on time. You must sound professional, if not--the producer is blamed by the label--and you the artist will be next. There are no excuses. When you turn in a song to a label, as a producer, you dare not say to a label executive..."Well, the song or songs are bad...because your artist is terrible or lacking." If you do that, you will be fired...and the label will simply hire someone else to do the job that you failed to complete. Remember, they have an investment in the artist in the hundreds of thousands...if not millions--as such, you must succeed...or else. Like it or not, you have to captain the ship...and tell the artist that you are fixing their song or songs--or you can't put your name on the record--and won't. Adding to that, you have to communicate to an executive that you need creative control over the artist--that is, if they aren't delivering in-studio. Your job as a producer, is to turn in hits--not excuses, or you will be ultimately blacklisted...and passed over for jobs. The industry doesn't care about you, other than if you can make them money or not--so be ruthless in terms of demanding excellence from your artists. If they can't cut it musically, bring in top studio musicians and singers to fill-in for them--but get the job done. If they can't cut it, songwriting wise--either bring in songwriters or write the songs yourself. Yes, you are creating a studio confection--still...if you deliver hits, everyone wins. Trevor Horn did the same with Frankie Goes to Hollywood, and The Art of Noise did the same with The Spice Girls. Said is true of the Wrecking Crew, having served as the secret in-studio musicians for every other major rock band in the 60s--including The Beach Boys. Other Rock and R&B bands had Muscle Shoals and The Funk Brothers...respectively--as fill-in studio musicians. Many of the touring bands, TV show track date bands, and the folks on the album covers could not play at professional standards in-studios. They were the "Johnny Bravo" of their day (see "The Brady Bunch"). As per bands, many songs are nonstop jam sessions...with no central riff--or end point--and there is no melody??? You have to know where the main riff is, if there is one, and when enough is enough of the song--in terms of length. Additionally, songs need pulse and glue. A cowbell, adds pulse--as does a cymbal ride, shaker, hi-hat, clap, kick drum, or tambourine, etc. I recommend using a drum machine. If you want a live drummer, have him/her play to a click atop your drum machine arrangement. I recommend using a blend of both...the drum machine and a live drummer. In fact, I recommend programming each song on a sequencer. Next, simply track each of your live instruments over the individual sequences. With the proper mix-down blend, and a good to great professional engineer, you'll get a full sound. Speaking of a full sound, if you are using an electric guitar--don't be afraid to employ a strumming acoustic guitar (playing the basic chords) in order to back your power chords. It serves to give a song added sonic foundation. Set it in the middle of the mix, or the background for feel. Keyboard chord pads, say...by way of a Fender Rhodes electric piano...or a stereo 3D synth pad, add glue to a song, Similar is true of using string lines. These serve to marry/blend the drums, bass, guitars, horns, and other instruments, as well as the vocals--making them feel as if they are one solid unit. Said is aided by a good mix and mastering. If you are using synth produced horns or strings--double, and triple them with other like keyboard patches--and real horns or strings if you have the budget. This trick is called "stacking"...and will give you a big orchestral sound if mixed properly. Most pop/rock hits have 3 to 4 chords, and are done in 4/4 time. Why 4/4 time? Most people dance to 4/4 time...and it is the rhythm of the heart, a clock/watch, the Earth, and sex. If you or others...can't dance to a song, and keep time without losing the beat...or becoming confused, usually--you don't have a hit. Set your BPM by the latest popular dances.
My "concern" as a producer is that when someone like him says "I have no technical knowledge" - a lot of aspiring producers will take that as either: 1. yay I don't need technical knowledge (which is almost certainly not true) OR 2. uhhh so basically I suck then...? What I find rather off-putting about the interviews is that Rick is saying things that are NOT good prescriptions to aspiring producers. Like - if I was trying to help someone learn to produce music better and just told them "Nah you don't need any knowledge" - that's incredibly unhelpful. I get it and I DO think what he brings to the table is invaluable - but to say that this is anywhere in the realm of what a typical producer does is just asinine. The overwhelming majority of producers MUST have technical knowledge and MUST have musical knowledge or else they legitimately cannot do their job. Again - I think what he does is crazy and his ability to pull out of artists what he can is incredible and the work speaks for itself, but he's in like the 0.00000001% of producers, so I really find some of the big hit clips to be really off putting to be totally honest because it comes across as "I'm just special" and offers basically nothing substantive (that I have seen) that would be helpful to an aspiring producer. (you do touch on this a bit as well obviously) I personally think that having musical and technical knowledge as a producer is the very thing that allows me to do my job at the best as I can. If I didn't have the expertise I have as a producer technically and musically - I literally could not do my job... so does that make me a bad producer? No... and I certainly would not be telling aspiring producers to go watch a Rick Rubin interview to go "get inspiration" because that's basically all it is... or you'll just feel like you suck lol. I like YOUR video overall and I think the big picture of what you are saying is spot on (about what Rick does)- but I'm just coming at this from the angle of "what is this saying to aspiring producers?" Would be curious your take.
Yeah like I said, he’s a unicorn, I think we can learn a ton from him but anyone who thinks they can be him probably just can’t. The rest of us are gonna have to learn stuff hahaha
@@treyxaviermusic I actually went and listened to his 3hr podcast with Andrew Huberman - and I really LIKE him. He's a very likable person and I like the way he thinks, but I think that it does come across to hard on the whole "art is just whatever.." kind of train and that really is just not helpful to people learning. The whole interview I'm thinking "This is so good for those of us who already have that skill but almost entirely useless to everyone else" I dont know - still mentally processing it too. It's a great topic to talk about and if nothing else - it's great that there is a platform for these kinds of videos/discussions.
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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 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.
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.
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.
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.
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..'.😅😂👀✌️🙏
Glad you pointed out that producer differs genre to genre. Especially going from hiphop to metal.
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
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)
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.
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?
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.
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.
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!
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
It’s amazing to have to someone like him in the studio, giving direction and a different perspective
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.
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!
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!
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.
Well said. He knows how to bring out the best in people/musicians. He definitely has a gift
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.
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.
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.
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.
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.
this is an clear, comprehensive, compassionate explanation taking in to account the musicians', priducers', and non-musicians' perspectives!
What an incredible video. I stored it under my Favorites tab so I can keep coming back to it for perspective.
Great work
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.
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.
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
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!
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.
Probably one of my favorite videos you have ever done! Much love brotha!
The editing on this one...*chef's kiss*
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.
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 🔥
I once gave a suggestion to a friend who makes music, this while i was taking a dump and this advice was relayed by whatsapp. I guess im a producer now.
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
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.
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.
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.
Musician: the people that create the music.
Producer: provides a third-party view to help guide the musicians stylistically.
If he was a musician, he would have realized Dani California was the same song as Mary Jane's Last Dance.
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.
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 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.
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.
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.
Seeing the Big Picture. The hardest thing to do. The 2 part John Frusciante interview on his podcast is GOLD!! Producers need more love!!
Great meeting you at 70K, keep up the good work. Life doesn't suck!
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.
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.....👍👍👍👍
The Limp Bizkit wordplay at 11:47 had me hollerin' with laughter! 😆😆 Well done, that was great 👍
I got to meet him earlier this year, when I stick a mic through his beard. Dude just oozes zen.
I like to take a step back from a song when it's about 75% done and completely forget about it for about a week. Then I'll listen to it pretending I'm a random person hearing it for the first time to get that "objectivity" and to see what stands out immediately
Lol li'l view nobody listens to your shit
@@tylersmith9868Your mom loves my music. We put it on while we bone
Wow, best video yet, what ever awards come with that, you won Trey
Great analysis and description and thanks to Hoobs for forwarding this :)
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.
Thanks for this video, you break down something people often THINK they know what they're talking about. I am a self-producing blues and metal artist, but I am so blessed to work with a smart and experienced engineer that can easily put on a producer's hat. I always grant him a co-producer's credit, because his input is so valuable, even if we ARGUE at times! Sometimes I say "just push the damn buttons!" 😆 But he is often right.
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'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 video was chalk-full of great insights and points I'd never considered. Awesome analysis!
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 have to admit, I was completely ignorant to most of what you talked about. I learned a lot! Great video.
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.
When I looked at what Rick had done with Linkin Park, I realized he was approaching what they do with more intuitive nature. The band had one sound but didnt want to be stuck sounding Nu-metal Adjacent. His influence paved the way for their more melodic electronic sound. He was pretty aggressive with training the band, which was met with reasonable frustration/anger. Without him though i dont think Linkin Park would be as large as they ended up back then. He represents the ear of the people and therefore the industry. He is definitely a calculated corporate entity though.
Even though he knows nothing about making music, his influence over music is so apparent and undeniable. Youd be suprised to see what huge projects hes consulted for. Slayer, the mars volta, so on
I love Rick Rubin so fucking much. He knows what is good and he knows how to find the good in people. Most importantly, he's the definition of goals... Laying and sitting with his eyes closed like a sage until he says "that one!🧘♂️" 🤣
Great video! Loved your insight!
Honestly the hardest part of his job is having to listen to everything no matter how bad and not loose his mind
This is really well presented. Thank you! ❤🎉👏🏻
One of the best presentations on what a producer is and does is in a little tome called "Sound City."
As a composer/producer the most difficult part is actually keeping your music simple! Simple is not easy
I love producers. Especially good quality ones. Like lettuce and baby spinach, cucumbers, ooooh and tomatoes. I'ma go make a salad!
I took a college music business class some years ago. The professor was a former A&R Administrator at A&M Records. When going thru all the different people and steps involved The the creation & release of a song he asked the class what a producer’s job is. After we all gave our Annette’s for what we thought he told us “The producer’s job is to get the best performance out of your artist as possible.” He said a producer could do things like engineer or mix or write but that was not their main job as producer. The producer’s job is to get a great performance
Annette’s? Typo for answer?
Rubin's track record speaks for itself. What does he do? He helps people cut through the clutter, get out of their own way, and let themselves pour into their own work. Sounds like nothing, but too many artists do get in their own way and - again - Rubin's track record speaks for itself (Johnny Cash's Hurt, every RHCP banger, Reign in Blood, etc)
Rick is a legend, thanks for clearing this up for people :)
One of the hardest things for a musician, is hearing their own music through the ears of someone who is not a musician. From that perspective, a producer, who’s not a good musician would be ideal to get an outside perspective, and if that producer had good taste and not too much ego and loves music over money then you’re probably gonna get a pretty good record.
I submitted my riff-to-song challenge song on a Friday stream and Trey was like "... it's nice and all... BUT... couldn't you like double the bass riff on guitar or something...". This wasn't all he said, but to me it was more a verdict that the song was too shallow, and needed more to keep the listener interested. So in my attempt to take his advice, verbatim, I developed several variations on the bass riff on both the bass and lead guitar. These variations still fit the feel (because they began as doubles of what was already there) and helped make the guitar solo more interesting (at least to me) ultimately giving the listener a few more stops along their journey (but lets be honest, it's a 3 minutes boogie-fest like most of my songs are, anyway). While developing those variations, I also heard something that was missing... synth (i think Trey mentioned that too). Anyhow... i had pretty much thought the song was done... but one small comment from an objective source proved it wasn't.
The question we should always ask ourselves is "Would I consistently want to listen to this?"
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.
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.
They can help bring out your best. Like a head coach, he doesn't make the plays, he sees the overall game
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.
Great video Trey! One of your best, really enjoyed it!!
Trey this episode is seriously awesome!!
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!
When Rick says he 'doesn't know anything about music' - I'm fairly confident this isn't the whole truth so much as a comparative reflection on the entire scope of "music" - history, theory, practical application, etc... He might not know what the 5th chord in a G Minor Mixolydian scale is - but hes still able to tell you what sounds "good" in his opinion.
As a Recording Engineer and Producer myself, I've always found the role more akin to a sports coach.
Some projects your helping flesh out and write alongside the artist, and in some cases having some actual musical theory or basic ability on an instrument can help communicate and facilitate ideas, but it's not necessary so long as producer and client can communicate adequately. In other cases your simply making musical judgments; "I liked the first take more than the second" - and in this capacity your acting more like the artists personal audience, a third party to gauge the quality of the project at any given stage.
More traditionally Producers were hired by Labels to manage recording projects - facilitating between artist and Recording Engineers in professional studios (The Recording Engineer had enough to worry about, what with all the tape splicing and signal routing) and probably insuring artists adhered to a "sell-able product".
The role has evolved as music and technology has over the years to include a vast array of services for artists. In some sense, Producers these days are a sort of 'Jack of all Trades', in other cases they don't seem to do much of anything at all - maybe just a vibe.
Rick, however, is a fucking gem of a human being, and I would gladly pay his hourly rate just to have a cup of coffee and hear some of his stories.
Cheers~
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.
Lol, i actually have been in a horrid mood today, just in a slump week i suppose you could say 🙃,but i genuinely found this video to be so randomly interesting. Thx mister
Thanks for this video. Yeah, the job of Producer is not only sometimes vague, but highly varied. I have produced a few projects, & it is definitely a thankless gig. You get all the blame, but little of the praise. But for myself, I see the job as "facilitator," more than anything. You figure out how to get the artist "there." That may mean being a Drill Sargeant, &/or Therapist. I think Rick is def that kind of Producer. He sits back and gently guides the process, allowing the artist to be their best, prodding when necessary, praising when necessary, purging when necessary. But for anyone, Rick included, to imply that he knows nothing about music is just misleading, if not just bullshit. There is a huge difference between not having "technical" knowledge of music (theory, performance skill, or even know the difference between Hard Knee & Soft Knee compression, etc) & not knowing anything about the art form in general. Rick might not know a Send from a Return, but he has something you can't just learn,...he has phenomenal MUSICAL INSTINCTS, esp pertaining to what works & what doesn't. (Parroting you here, but you were just dead on.) The fact that he ISN'T a musician, or engineer IS an asset, as that allows him to just listen. He doesn't have the added filters of using "guitarist ears," or "engineer ears," etc- all of which can distort the essence of the true listening experience. And because he doesn't contribute "technically," let along have to fight an urge to think, "I would play that differently/better,"etc. He doesn't write or play music, so there is a whole lot less of a tendency to instill his own "style stamp," on someone else's music. He doesn't have to be pigeonholed. Recording music is about more than microphones and quantizing (gasp!), it actually has a huge psychological proponent. It is about pushing the artist to be their best, & while sometimes that means being critical & strict, but just as often, it means helping get shit out of their way, mentally. Creating the mood, creating a safe place where it is OK to fuck up as you are reaching for the next level. As a Producer, you need to figure out what will spur/spawn the most success, the best performance, & if necessary, adjust the arrangement to best showcase the song. Rick excels at that. He instinctively just generally knows what sounds good, what could sound better, & even when an artist should stop pushing. He also has a knack for pairing songs with artists. "Johnny Cash sings NIN" sounds almost like a joke in passing, but then you hear "Hurt," & you realize that not only does it fucking 'work,' but it rivals, maybe even exceeds the emotional impact of the original. Regardless, you realize that your world is just fucking better because you were fortunate enuff to hear it. I say, if Rick Rubin "knows nothing about music," I PRAY to some day be just as ignorant. Thanks again, T.
Great Video Trey! I love Rick´s beard the most.
A music producer is parallel to being a film director--specifically, an auteur film director. Many music artists don't know how to arrange a song properly, or how to write a good song. A producer is a quality control person. His/her job is to make you, the artist, sound professional and commercially viable. The producer will look for a proper song hook/chorus for the artist. He/she is specifically looking for a commercial repeatable refrain in that hook/chorus. If your listeners can't sing the hook/chorus within 2 passes of the hook/chorus--then you have failed as the artist/writer. As well, if a soccer mom...or a teen kid can't sing your hook/chorus...or doesn't want to--you have also failed.
Producers look to seed songs with melody and color notes. He/she will want the hook/chorus to stand out from the verse sections. You want the hook/chorus to erupt like a volcano, thus said has to be bigger and more defined than the verses and bridges.
The song must be slick and fun, hence...you'll need to stop your musicians from crowding a song with unnecessary solos, fills, time changes, and vocals--you want spaces so the song can breathe. A producer is there to deconstruct any issues with musical train wrecks, where there is too much of something (such as competing instruments), or he/she must know when to add to a song when there is not enough of something. On such an occasion, he/she may have to officially...or unofficially engage in the process as a songwriter. Why? Many band members fight for the spotlight. 1 or 2 of them may be great at songwriting, where the others who are lacking...act out of envy and greed. The latter group are obstructionists, who get in he way and cause clutter, infighting, and overall anarchy. This is destructive to the creative process. As the producer, you say what goes...and whose writing is crucial...or not.
Further, a producer is there to make certain that you are playing in key...and on time. You must sound professional, if not--the producer is blamed by the label--and you the artist will be next. There are no excuses. When you turn in a song to a label, as a producer, you dare not say to a label executive..."Well, the song or songs are bad...because your artist is terrible or lacking." If you do that, you will be fired...and the label will simply hire someone else to do the job that you failed to complete. Remember, they have an investment in the artist in the hundreds of thousands...if not millions--as such, you must succeed...or else. Like it or not, you have to captain the ship...and tell the artist that you are fixing their song or songs--or you can't put your name on the record--and won't. Adding to that, you have to communicate to an executive that you need creative control over the artist--that is, if they aren't delivering in-studio. Your job as a producer, is to turn in hits--not excuses, or you will be ultimately blacklisted...and passed over for jobs.
The industry doesn't care about you, other than if you can make them money or not--so be ruthless in terms of demanding excellence from your artists. If they can't cut it musically, bring in top studio musicians and singers to fill-in for them--but get the job done. If they can't cut it, songwriting wise--either bring in songwriters or write the songs yourself. Yes, you are creating a studio confection--still...if you deliver hits, everyone wins. Trevor Horn did the same with Frankie Goes to Hollywood, and The Art of Noise did the same with The Spice Girls. Said is true of the Wrecking Crew, having served as the secret in-studio musicians for every other major rock band in the 60s--including The Beach Boys. Other Rock and R&B bands had Muscle Shoals and The Funk Brothers...respectively--as fill-in studio musicians. Many of the touring bands, TV show track date bands, and the folks on the album covers could not play at professional standards in-studios. They were the "Johnny Bravo" of their day (see "The Brady Bunch").
As per bands, many songs are nonstop jam sessions...with no central riff--or end point--and there is no melody??? You have to know where the main riff is, if there is one, and when enough is enough of the song--in terms of length. Additionally, songs need pulse and glue. A cowbell, adds pulse--as does a cymbal ride, shaker, hi-hat, clap, kick drum, or tambourine, etc. I recommend using a drum machine. If you want a live drummer, have him/her play to a click atop your drum machine arrangement. I recommend using a blend of both...the drum machine and a live drummer. In fact, I recommend programming each song on a sequencer. Next, simply track each of your live instruments over the individual sequences. With the proper mix-down blend, and a good to great professional engineer, you'll get a full sound.
Speaking of a full sound, if you are using an electric guitar--don't be afraid to employ a strumming acoustic guitar (playing the basic chords) in order to back your power chords. It serves to give a song added sonic foundation. Set it in the middle of the mix, or the background for feel. Keyboard chord pads, say...by way of a Fender Rhodes electric piano...or a stereo 3D synth pad, add glue to a song, Similar is true of using string lines. These serve to marry/blend the drums, bass, guitars, horns, and other instruments, as well as the vocals--making them feel as if they are one solid unit. Said is aided by a good mix and mastering.
If you are using synth produced horns or strings--double, and triple them with other like keyboard patches--and real horns or strings if you have the budget. This trick is called "stacking"...and will give you a big orchestral sound if mixed properly.
Most pop/rock hits have 3 to 4 chords, and are done in 4/4 time. Why 4/4 time? Most people dance to 4/4 time...and it is the rhythm of the heart, a clock/watch, the Earth, and sex. If you or others...can't dance to a song, and keep time without losing the beat...or becoming confused, usually--you don't have a hit. Set your BPM by the latest popular dances.
You sound like the kind of producer everyone should hate.
Rick Rubin is a music fan and has good ears and sees the big picture.
That's it. He's got a good racket going.
Absolutely loved your video ! Very precise and to the point on every aspect !!
Spectacular video, man!
My "concern" as a producer is that when someone like him says "I have no technical knowledge" - a lot of aspiring producers will take that as either:
1. yay I don't need technical knowledge (which is almost certainly not true)
OR
2. uhhh so basically I suck then...?
What I find rather off-putting about the interviews is that Rick is saying things that are NOT good prescriptions to aspiring producers. Like - if I was trying to help someone learn to produce music better and just told them "Nah you don't need any knowledge" - that's incredibly unhelpful.
I get it and I DO think what he brings to the table is invaluable - but to say that this is anywhere in the realm of what a typical producer does is just asinine. The overwhelming majority of producers MUST have technical knowledge and MUST have musical knowledge or else they legitimately cannot do their job.
Again - I think what he does is crazy and his ability to pull out of artists what he can is incredible and the work speaks for itself, but he's in like the 0.00000001% of producers, so I really find some of the big hit clips to be really off putting to be totally honest because it comes across as "I'm just special" and offers basically nothing substantive (that I have seen) that would be helpful to an aspiring producer. (you do touch on this a bit as well obviously)
I personally think that having musical and technical knowledge as a producer is the very thing that allows me to do my job at the best as I can. If I didn't have the expertise I have as a producer technically and musically - I literally could not do my job... so does that make me a bad producer? No... and I certainly would not be telling aspiring producers to go watch a Rick Rubin interview to go "get inspiration" because that's basically all it is... or you'll just feel like you suck lol.
I like YOUR video overall and I think the big picture of what you are saying is spot on (about what Rick does)- but I'm just coming at this from the angle of "what is this saying to aspiring producers?"
Would be curious your take.
Yeah like I said, he’s a unicorn, I think we can learn a ton from him but anyone who thinks they can be him probably just can’t. The rest of us are gonna have to learn stuff hahaha
@@treyxaviermusic I actually went and listened to his 3hr podcast with Andrew Huberman - and I really LIKE him. He's a very likable person and I like the way he thinks, but I think that it does come across to hard on the whole "art is just whatever.." kind of train and that really is just not helpful to people learning. The whole interview I'm thinking "This is so good for those of us who already have that skill but almost entirely useless to everyone else"
I dont know - still mentally processing it too. It's a great topic to talk about and if nothing else - it's great that there is a platform for these kinds of videos/discussions.