This may be the author’s version of a work that was submitted/accepted for publication in the following source: Howlett, Mike (2009) The record producer as nexus : creative inspiration, technology and the recording industry [Thesis (PhD)]. University of Glamorgan. This file was downloaded from: https://eprints.qut.edu.au/39093/ c Copyright 2009 Michael Howlett This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. 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Catalogue from Homo Faber 2007 Copyright 2009 Michael Howlett The Record Producer as Nexus: Creative Inspiration, Technology and the Recording Industry A submission presented in partial fulfilment of the requirements of the University of Glamorgan/Prifysgol Morgannwg for the degree of Doctor of Philosophy by Michael John Gilmour Howlett April 2009 ii I certify that the work presented in this dissertation is my own, and has not been presented, or is currently submitted, in candidature for any degree at any other University: _____________________________________________________________ Michael Howlett iii The Record Producer as Nexus: Creative Inspiration, Technology and the Recording Industry Abstract What is a record producer? There is a degree of mystery and uncertainty about just what goes on behind the studio door. Some producers are seen as Svengali- like figures manipulating artists into mass consumer product. Producers are sometimes seen as mere technicians whose job is simply to set up a few microphones and press the record button. Close examination of the recording process will show how far this is from a complete picture. Artists are special—they come with an inspiration, and a talent, but also with a variety of complications, and in many ways a recording studio can seem the least likely place for creative expression and for an affective performance to happen. The task of the record producer is to engage with these artists and their songs and turn these potentials into form through the technology of the recording studio. The purpose of the exercise is to disseminate this fixed form to an imagined audience—generally in the hope that this audience will prove to be real. Finding an audience is the role of the record company. A record producer must also engage with the commercial expectations of the interests that underwrite a recording. This dissertation considers three fields of interest in the recording process: the performer and the song; the technology of the recording context; and the commercial ambitions of the record company—and positions the record producer as a nexus at the interface of all three. The author reports his structured recollection of five recordings, with three different artists, that all achieved substantial commercial success. The processes are considered from the author’s perspective as the record producer, and from inception of the project to completion of the recorded work. What were the processes of engagement? Do the actions reported conform to the template of nexus? This dissertation proposes that in all recordings the function of producer/nexus is present and necessary—it exists in the interaction of the artistry and the technology. iv The art of record production is to engage with these artists and the songs they bring and turn these potentials into form. v Table of Contents Abstract .......................................................................................................................... iii Introduction ..................................................................................................................... 1 Chapter 1 ........................................................................................................................ 12 1.1 The role of the record producer ....................................................................... 12 1.2 Interfacing with the business ........................................................................... 19 1.3 Interfacing with the artist (and the song) ....................................................... 29 1.4 Interfacing with the engineer ........................................................................... 34 Chapter 2 Echo Beach—Martha and the Muffins .................................................... 40 Chapter 3 Orchestral Manoeuvres in the Dark—Three recordings ....................... 57 3.1 Messages ............................................................................................................. 58 3.2 Enola Gay ........................................................................................................... 67 3.3 Souvenir ............................................................................................................. 72 Chapter 4 I Ran—A Flock of Seagulls ....................................................................... 79 Conclusions .................................................................................................................... 86 Bibliography .................................................................................................................. 93 Appendix I—Lyrics ....................................................................................................... 99 Appendix II—Content Listing and Description of the Portfolio ............................ 103 Appendix III—Author’s biography ........................................................................... 104 Appendix IV—National Academy of Recording Arts and Sciences ....................... 107 1 Introduction 0.1 Close encounters Walking into a room full of strangers for the first time can be a daunting experience. When the strangers are a group of musicians, and you are a record producer who has come to work with them, a range of additional tensions are set up. For the musicians there is often the unspoken insecurity that their performing competence will be questioned. Will this producer want to replace them with session musicians? For the creative driving force in the group—usually the leader—the questions will include: how will this producer make my music sound? Will he take my work somewhere I do not want it to go? For the producer (at least, for this producer) primary questions are: what are these people like? Who are the key players, and how will they respond to my ideas, my personality, and my way of working? This moment is the beginning of a complex process of interactions which will determine the outcome: the realisation of a musical idea in a recorded form. Record producers perform this act of realisation in a number of different ways: some are primarily arrangers of the music; others mainly direct the performance of the artists; many are principally audio engineers. There are producers who only organise, selecting arrangers and engineers to perform those functions under their direction. All producers are charged with the responsibility for delivering an outcome that will satisfy not just the aspirations of the artist, but also the expectations of the commercial interests that finance the process—usually a record company1. The aim of this work is to posit the role of the record producer as a nexus between the creative inspiration of the artist, the technology of the recording studio, and the commercial aspirations of the record company. The term nexus is used here in accordance with the Shorter Oxford English Dictionary (1983) definition: a bond or link; a means of connection; and, as a causal noun, the necessary connection between cause and effect. The record producer acts as a means of connection between the artist, the technology and the commercial interest. However, the connection is not a transparent one—the personality and skills of the producer will shape and tone the outcome, as a colour transparency affects the light 1 Sometimes the artists themselves, or their management, also finance the project. 2 passing through it. Whether by directing the timbres and textural qualities of the recording through engineering processes; by structuring and arranging these qualities through musical direction; or simply by inspiring, enthusing, facilitating, the producer is engaged to direct the process and shapes the outcome by his or her presence. It