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Home , I Should Be So Lucky, Martin Rushent, Piney Gir, Shure SM57, Spike Stent

How to be a producer

George Martin Stock, Aitken and Waterman Production lines As the line between artist and producer becomes increasingly blurred, we explore what goes into producing other people’s work and talk to some industry experts…

hat do you picture when you and Rolf Harris – was to give him the song and mix, frequently composing the palette to a mainstream audience, has hear the word ‘producer’? A wide-ranging experience that would entirety of the artist’s record themselves: helped to create some of this decade’s W long-haired visionary telling enable him to help ’s I Should Be So Lucky biggest musical franchises: Nelly, , the bass player of a band to wear revolutionise studio recording. and ’s Never Gonna Give You Jay Z, Justin Timberlake, Kelis and P. purple shoes for improved ambience, or On Strawberry Fields, for example, Up were enormous hits, and the largely Diddy to name a few. They veer in the a drum ’n’ bass DJ turning his hand to Martin was required to interpolate instrumental Roadblock elevated them direction of artists themselves, stamping making a tune? Whether it’s Phil classical orchestration, a horn section, to even further fame. a clear impression on every project they Spector or DJ Krust who comes to mind, a Mellotron, a swordmandel and, at one take, and then extending this branding this month we’re separating fact from point, a large number of people banging Producer or artist? out to their solo careers – it’s a logical fiction and glamour from graft in the biscuit tins. He was also forced to It was the approach of people like SAW step from the collaborative days of the arcane sphere of production. combine two takes of the song that that brought the producer out of the 60s towards the self-sufficient electronic In the beginning, music production were in different keys and at different shadows and into the limelight. underground of today. was an administrative process, with tempos: a Herculean task considering Recently, production teams like the producers simply organising recording the technology available in 1966. Neptunes have enjoyed both the Fresh produce sessions and then taking on a In essence, Martin’s role was to take ubiquity of the 80s hit machines and A knowledge of technology and supervisory role. With the advent of ’s sparse original song and the international fame of pop stars. arrangement built up by producing your magnetic tape in the 50s, it became transform it into a finished record, Pharell Williams’ solo career continues own music can lead to production possible to run cost-effective making decisions based on the Beatles’ to thrive, but it was his work with requests from other musicians, and independent recording studios. This in creative input but also adding his own partner Chad Hugo on hip-hop suddenly throw you into the job of turn facilitated the rise of independent eclecticism to the mix. He's pioneered crossover records like Nelly’s Hot In attempting to translate someone else’s producers like George Martin, who the structure for many artist/producer Herre and unusual mainstream pop creative fancies into actual music. This broke from his role as a staff producer relationships since the 60s. such as Britney’s I’m A Slave for U, won’t appeal to everyone, but if you’ve and A&R manager at EMI to go it alone. The other side of the production which got him his initial phame and ever had a desire to inflate the number Martin’s diverse background – which coin was illustrated by Stock, Aitken and phortune. The popularity of the of edits you’ve made on a vocal track had included work on classical music Waterman in the mid 80s and early Neptunes’ sound, which introduced a by an order of magnitude, made up and novelty records for Peter Sellers 90s. The trio often took control of both naïve and often awkward electronic terms like ‘spectral disambiguation' to describe using a free plug-in, or told someone that their funk saxophone “IT WAS THE APPROACH OF PEOPLE LIKE SAW overdub ‘really adds something', then this could be the creative path for you. To further our investigation into what THAT BROUGHT THE PRODUCER OUT OF THE makes a producer, we tracked down a legendary producer and an underground SHADOWS AND INTO THE LIMELIGHT” production duo to get their take on the art of making other people’s music. cm

070 | COMPUTER MUSIC JUNE 2006 FEATURE How to be a producer

Phil Spector DJ Krust Production lines JIM SHARPE/REDFERNS JIM

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NILE RODGERS PHOTOGRAPHY ile Rodgers is one of the most helped you to achieve your status as a that when they’re going off the path you personal highlights of your production prolific and successful production legend? can get them back. If the car is going career that the public might not know? N producers of all time. He’s NR: Music surrounded me at home: my straight, you don’t have to steer. To me NR: All of my work with Peter Gabriel on worked with Diana Ross, , mom was young and we led a nomadic the artist always has the final word: it’s film soundtracks: things like Against All , and Mick life. I went to dozens of schools before I their picture on the cover of the record. Odds, Gremlins and Home Of the Brave. Jagger; he’s sold over 100 million was 17, and they all assigned me records worldwide; and as a founding different instruments to fill out their cm: What do you see as some cm: How do you approach the member of Chic, he co-wrote orchestras, consequently giving me a technical aspects of production? the hits Le Freak and Good Times, as working knowledge of the way that all NR: I'm not trying to be funny, but the well as the anthemic We Are Family for the instruments function. Know your enemy best tools are cool ideas: in today’s Sister Sledge. His film credits include All our interviewees stress the world we have a myriad of cool gear Beverly Hills Cop and Thelma and cm: How do you approach producing a importance of getting on good terms from which to choose. Usually I work Louise, his business ventures are still record when you’re working with an with the artist you’re working with with one engineer for a long period of expanding exponentially, and if we artist for the first time? before you kick off the production time, so they have to be well rounded. process. If a cruise around Santa listed the awards he’s received, you NR: I become a fan and get completely Monica in your convertible and lunch wouldn’t be able to lift this magazine off immersed in understanding their history, on your three-million dollar yacht isn’t cm: You work across a huge range of the floor. then I feel equipped to envision the an option, we suggest going for fish genres – do you feel it’s important to Nile took some time out from artist’s future. I always try to make the and chips and a pint of Original. cross genre boundaries, mixing and Seriously though, it’s essential that preparations for a series of high-profile artist’s ‘next record’ and not their last. matching elements? you take the time to get acquainted gigs with Chic to answer our questions with the needs, influences and NR: I was raised in a world music about his incredible career and give us cm: What do you think are the most desires of your artist, and sort out any culture. We all have a lot to offer each the benefits of his production wisdom. important contributions that a producer potential personality clashes before other, and with sampling you can have can make in enabling an artist to you get in the studio. Being on the a virtuoso shehnai performance without same page from the outset will save cm: What aspects of your musical achieve the sound they’re after? you time later. one lesson or even knowing what a upbringing and education do you think NR: See the artist’s vision with clarity, so shehnai looks like.

FEATURE JUNE 2006 COMPUTER MUSIC | 071 How to be a producer

George Martin Stock, Aitken and Waterman

cm: What do you feel you have learned Prince, Miles and The Beatles – he’s on Needless to say I’m listening to MoPo basis? Has it opened your eyes to other from being involved in music for the that level to me. I think that when rock every moment I have. possibilities and other ways of working? past four decades? history takes a close look at Bowie NR: Well, budgets have the main effect NR: That I have only started to learn they’ll see what I see. cm: The majority of Computer Music on the way that I work, so I’m forced to about music. Last night, I had dinner readers write, produce and engineer be open to other ways of working. If it’s with the RZA and the GZA from Wu Tang cm: Chic’s sound has remained their own music – how do you feel a top-shelf motion picture or the Clan: it was an education! The great popular and you’re about to play some about this trend in home recording? Grammy TV broadcast, it’s just like the instrumentalists I’ve worked with (Jeff further high profile dates. How do you Are there any analogies with your good old days. I have a team of music Beck, Herbie Hancock, Stevie Ray, etc), account for that enduring popularity? early work? prep people at my command and I’m the instrument becomes a part of their NR: We play every gig as if it’s our last, NR: Yes, it’s very similar. Bernard inside my super-comfort zone. If it’s less bodies, almost like an extended because one day it will be. Get the DVD, Edwards and I wrote, produced and than that then I morph into a modern appendage. Well, that’s how the RZA is CHIC: in Montreux – it will be clear connected to his computers and the to you. This video is the ‘line cut’, like a gear he works with. Respect, respect sporting event, meaning this is what we and more respect! did live. They handed it to me right after we walked off stage. cm: David Bowie’s Let’s Dance was “I COULD WRITE A BOOK ON pioneering at the time of its release. CM: How do you go about building What was it like making that record? strong relationships and mutual respect NR: Ha ha! This was one of the greatest with artists whose work and THE MAKING OF LET’S DANCE experiences of my life. I could write a personalities are so diverse? book on the making of Let’s Dance NR: So, let’s talk about diverse ALONE. IT ONLY TOOK 21 DAYS alone. It only took 21 days from start to personalities. Last week the pop/country finish. I call Bowie the Picasso of pop act Big and Rich met me at my FROM START TO FINISH” music: it always makes him apartment in NYC. After we met I uncomfortable but I really mean it. realised that these guys are artists with great vision. We’re all searching for performed all of our own music, not composer-producer, using any and all people to help us bring our vision into only for ourselves but most of the artists tools around me. Listen to focus in a time where art is languishing that we worked with. the demo – just cos it’s pop doesn’t mean it’s not cm: Have you ever had any strong art. I also work on many video games cm: In the studio, how do you like to disagreements with artists you’ve It’s good policy to listen to any that are Art, with a capital A! build up tracks from a technical point of produced? How did you resolve versions of the track(s) you’re going to view? Have you changed your approach these problems? be working on that have been made beforehand, no matter how rubbish cm: What kind of music are you throughout your career? NR: I quit the Madonna album Like A the production, as you should be able listening to right now? NR: I change my approach from time to Virgin after an argument. While I was to pick up on the artist’s intentions. A NR: I’m currently listening to Halo 2: Vol time, but I usually start with laying down waiting for the elevator to leave the good producer should be able to 2. Composer Marty O’Donnell and I are lots of vibey guide vocals. Then I building Madonna came out and said, identify the strengths of a song or working on cool ways to present this construct a demo of them to inspire the ‘Does that mean you don’t love me any track despite any technical inadequacies, and then use his skills great music to a world that doesn’t artist to do it better than my comp. This more?’. Madonna has a perfect sense to draw these out in the final version. have a good outlet for alternative art. I gives them a great sense of security of humour and timing. I cracked up If a demo doesn’t already exist, am also listening to a band called because usually my vibey comp is laughing, and that was the end of consider knocking one up on your MorissonPoe. I turned them onto Robin pretty good. that disagreement. first day of recording – just a guide vocal, some chords and a drum loop Beanland – MD for Rare Studios – and will do. This will give you a template he loved them right away. He put two of cm: You’ve done a lot of film cm: Finally, do you have any advice for from which to work – who knows, their songs ‘in game’ for the Xbox 360 soundtrack work in the past, and have musicians who are looking to get your singer might even do a Thom launch title Perfect Dark Zero. I signed recently diversified into game started in production? Yorke and produce a glowing take first time around. them to my Sumthing Else label and soundtracks. How does this differ from NR: Just make sure that your songs they just turned in their new CD. recording artists on a purely musical are hits!

072 | COMPUTER MUSIC JUNE 2006 FEATURE How to be a producer

Phil Spector DJ Krust

A SCHOLAR AND A PHYSICIAN li Horton and Steve Dawson are Physician: When we were working with mistakes that you inevitably make when powder and ‘feeling the vibe’. It’s our A Scholar and A Physician, a Piney Gir, we got asked to remix Don’t you’re creating music. It helps you to middle-class work ethic: we drink tea O young production and remixing Say You Love Me by . After step back and criticise your own work. and do the job properly. duo who have already racked up some chatting with composer Ash Verjee, we diverse credits in their relatively short decided to re-write the backing and cm: How necessary is it to get on well cm: Who are some producers you career: Erasure, electro-pixie turned arrange it for a girls’ school choir. with the artist you’re producing? admire, and what is it about their work country belle Piney Gir, Chicks on We composed the choral parts in Physician: We’ve yet to work with an that interests or inspires you? Speed, apocalyptic noise-lords The Logic, listened back to them and artist we don’t get on with, so it’s hard Physician: John Leckie seemed to be $hit, and geekcore rapper MC Lars are printed out the score with all the lyrics, to say. Communication is so important, all over the records I listened to when I among the artists who have called on effects and annotations. On the day, we and if you get on well then you can get was growing up, so he’s probably sitting their talents. miked up each part of the choir with your ideas across much more easily. there at the back of my mind They started out with a series of some C1000s and spent the day Scholar: Artists like us because we’re influencing everything I do. He could guerrilla remixes: a garage version of a listening to them perform our creation. really nice. We actually produce in the make a simple song sound massive. track by alt-country rockers Goldrush, a Scholar: I like getting people to clank studio, rather than sitting around Other than that… Spike Stent was a collaborative mash-up of the Super biscuit tins together or shake teabags, smoking bifters and snorting talcum genius, as his work made me realise Mario Bros theme that became an then processing the sound to death to that you could mix with internet sensation, and, of all things, a make a . Or just plugging a electronics and not upset anyone. And swing-jazz reinterpretation of Liberty X’s drum machine into a delay unit, and Live it up then there’s BT: he’s less of an Just a Little. then getting someone who doesn’t It’s not like we try to wantonly inspiration and more of a goal. Based in Oxford and affiliated with really know what either of them are to shoe-horn a mention of Ableton Scholar: I can only listen to so much BT the pioneering and staunchly play with the result. Live into every other page of before I get annoyed: ‘That’s enough independent Truck Records, the pair Computer Music, but everyone’s 32nd-note hi-hats for this bar! Stop it!’ favourite Teutonic real-time have worked as in-house producers at cm: Do you feel that producing other timestretchy thingy really can come in I’m with you on Spike Stent. Here’s a bit Truck Studios as well as on their own artists is something that complements surprisingly useful for production of a list for you: Martin Rushent, Dave personal projects over the last few making your own music, or do you work, especially at the ideas stage. Fridmann, Richard X, Eddy Offord, Martin years. As they ready themselves to fly consider it a separate activity? Artists like nothing better than to be Hannett, Glove, Mark Bell. I also like it able to suggest a change to their out to Berlin for some further work with Scholar: It’s fun working with other track and hear how it will sound when bands who know what they’re Chicks on Speed, we caught up with people because you discover more bits instantaneously, so having a stock of doing produce themselves: Super Furry them to get their take on the role of the of yourself. Then, when you go back to samples, loops and effects ready to Animals do this phenomenally, as do truly independent producer. doing your own stuff, you have all that drop into those clip slots at a Clor – their album is brilliant. I’m in a moment’s notice will help you to at your disposal. three-piece electronic band called shape your work in progress and try cm: What are the aspects of production Physician: When you produce other out some wackier stuff on the fly. Trademark, and we produce all our you enjoy most? artists you get to see them make the own stuff.

FEATURE JUNE 2006 COMPUTER MUSIC | 073 How to be a producer

George Martin Stock, Aitken and Waterman

layered up a load of Mellotron orchestra samples and set about putting some ASAP’s gear chords underneath the melody. It suddenly turned into this Scott Home Studio Novation X-Station Walker-esque orchestral pop song! Korg EX8000 Elektron SidStation cm: Any favourite bits of equipment? Korg MS2000 AN ESSAY AND A Physician: At Truck Studios, we often Oberheim Matrix 6 MIDI NES use a badly looked-after Watkins PROGNOSIS: ASAP Multivox something. Preset Copicat without the delays turned on to analogue thingy IN THE STUDIO add some character to instruments that Yamaha CS01 lack it. But to be honest, we like Yamaha PSS680 Casio PT30 cm: Tell us about your working methods. We usually do drums by manually plugging anything we find in to anything G5 PowerMac (Scholar)/G4 PowerBook Physician: Piney Gir comes in with her laying kick samples on the timeline on else we find. I have the portable setup (Physician) running Logic Pro 7 own ideas all worked out. So, for the one track, then snares on the next, and (Logic on a Powerbook, a Novation Universal Audio UAD-1 Ultra Pak first album, she’d play us something on so on. Then you have a mess of drums X-Station and a Tascam FW1804) that Tascam FW1804 an SHS-10 with single-fingered chords, that you copy across – because they’re enables us to record anywhere we ‘All the free AU plug-ins they can find' then we’d set to work laying down a on individual tracks, you can effect want. A Scholar has all the hardware Truck Studio generic feel for the track in Pro Tools. each drum separately and add beat plug-ins that make it all sound good G4 PowerMac with Digi001, Pro Tools We might play in a guide pad with A variations to the track. when we get home. and plug-ins Scholar’s Korg MS2000 and get Piney to Before we moved to Macs we used Scholar: That’s the Universal Audio Mackie and Allen & Heath mixers Dynaudio monitors put a guide vocal down. Then, we’d find to use lots of external apps like UAD-1, which I have in my G5. I like my Rode Classic valve mic whatever synths were lying around the Granulab to mess up the sounds or hardware: I still have my first keyboard – Audio Technica large diaphragm studio (like a Korg Micropreset or create interesting pads. We used those a Yamaha PSS680 – and it still gets vocal mic Yamaha SK30) and put melodies or where possible, because they were fun. used on tracks! I'm also very fond of my Shure SM58 x2 Shure SM57 x2 effects on top. After that, we’d take each Then we’d final version of the SidStation and Oberheim Matrix 6. Shure SM57 Beta x3 track home home, open them in Logic track back to the studio to add live However, in the last year or so it’s been AKG D112 and start pulling it all apart. instruments; then finally back home to mostly software, especially as it means I AKG C1000 x2 tidy up! can copy a song to Steve and he can Audio-Technica pencil condenser mic Various other dynamic mics Scholar: We’re currently working with edit my bass sound or whatever. TL Audio Ivory valve mic preamp x2 Don’t be boring Anat Ben-David, and with her material Alesis two-channel compressor/gate it’s a bit more free-form. The most cm: What advice would you give to Behringer compressor/gate It sounds easy but it ain’t. Electronic recent track we recorded actually someone presented with the challenge Behringer enhancer musicians in particular are often started in the studio. I was in a bad of producing another artist for the Alesis Midiverb members of the cantankerous Time Machine delay ‘everything sounds the same on mood and got really bored, so I dug out first time? Watkins Copicat tape echo the radio’ brigade: now you’re a all the little boxes from the back of Physician: Try not to think Timeline analogue delay/ producer it’s your chance to change cupboards in the Truck Studio and ahead. Know what result you’re aiming chorus/flanger that. If you’re producing an indie plugged them into each other. I hooked for, but let the artist guide you. Schaller Rotorsound phaser/ band, use some drum ’n’ bass Leslie simulator influences; if you’re working with a up an old Hammond drum machine, Roland Revo 30 rotary simulator soul singer, make her sing into a stuck it through the Copicat and a large Official site: Various pedals bucket. Early rock ’n’ roll records wooden brick made by Roland called www.ascholarandaphysician.com Yamaha SK30 analogue monosynth/ achieved their unique drum sounds the Revo 30 – a Leslie simulator, I think Steve Dawson’s homepage: string synth/organ by having band members play Various little keyboards cardboard boxes and hit radiators, so – and a cheap reverb unit, stuck all the www.stevetronic.co.uk Various amps there’s a long history of productive gains up and played with the tape Trademark: Alesis ADAT experimentation that’s often mechanism. Anat loved it, and started www.trademark-online.co.uk Sony DAT recorder neglected by today’s radio-friendly, writing a text for it straight off. Later that Work with A Scholar and A Physician Sony MiniDisc recorder 80s pop sampling, filter-house clones. PA for rehearsals/playback day she sung a guide vocal. at Truck Studios: Use your initiative! Then we took it to my studio and www.truckrecords.com/studio

074 | COMPUTER MUSIC JUNE 2006 FEATURE