A Musician’s Guide to The Artist/Producer Relationship

by | Jan 12, 2015 | Home Recording

An In-Depth Look at Working Together In The Studio

When you enter a recording studio you are beginning a relationship with at least one new person – the recording engineer.  A lot is riding on this person’s abilities and personality during your tracking and mixing sessions.  In fact, we would argue that the engineer is the most important element of the recording experience and unfortunately, they are often the least focused-on part of the puzzle.  You can have the best console and recording space in the world but in the hands of a neophyte with the personality of a third grader, you’re in for a disaster.  On the other hand, a less-than-stellar mic closet and older plug-ins in the hands of a talented, experienced and friendly engineer will often yield amazing sonic results.


We learned early on that one of the most important steps you can take to making a great recording is to visit the studio and engineer you’re going to potentially work with first.  Take a tour, sit down and chat for a few minutes and get to know a bit about who you will be working with and see if you hit it off.  Ask a few “dumb” questions and see if you like the replies.  If the engineer looks down his nose at you and makes you feel like an idiot for asking, that might be a red flag.

One of the engineer’s biggest responsibilities is to foster creativity throughout the session.  Not to toot our own horn, but one of the most common responses we get from a new client after we’ve completed a session is often, “Wow, the last engineer we worked with wouldn’t even let us try that!”  We hear tales of engineers at other studios who seem to have very strict rules about how things should sound, informing artists that they have to do things like re-write a guitar solo because “it doesn’t fit the song.”  If an engineer makes you feel “wrong” for doing something musical in the studio, then your creativity is immediately going to take a nosedive.  In our opinion, the job of the recording engineer is to expertly record an artist’s performance as invisibly as possible.  If the artist asks for their kick drum to sound “more thumpy,” then a good engineer should turn a few knobs or tweak a mic position and then ask, “Is that what you were looking for?” – not “Then you should have bought a better kick drum.”


Let’s be clear about something here – all the rules that apply to every other customer/service relationship should also apply here to the engineer/artist relationship, namely the customer is always right.  If you as the artist are paying for the recording session, then you are the customer and if you want the guitar solo to last for nine minutes and be played out of tune – then you are right.  Now this is why a pre-meeting with the engineer is so important.  If the engineer wasn’t expecting a 10-hour session filled with nine-minute, out-of-tune guitar solos, then they are probably going to be unhappy and possibly walk out in the middle or at the very least be unpleasant to deal with. For everything to go smoothly it has to be a good fit, so do your research and find an engineer who appreciates your music.  When you are researching restaurants on Yelp you read reviews about the quality of food, service and ambience.  Consider your pre-production studio meeting your chance to sample the sonic menu, check out the ambiance and meet the staff.


When we sit down with prospective clients here at Night Train Studios, especially if they are new to recording, we like to explain our role as engineers and clarify that unless the artist asks for our opinion, we are here to serve the client in reaching their sonic goals.  The artist/engineer relationship is a tricky one.  Unlike the customer/chef relationship, where both parties have plenty of experience – customer eating/chef cooking – with the artist/engineer relationship the engineer likely has more experience doing his job then the artist has doing theirs.  (It’s more like an airline pilot/flyer relationship.  I’ve flown this plane to Miami and back thousands of times, you climb aboard and take a seat.)  The engineer has recorded on practically a daily basis whereas many artists may have never even been inside a recording studio before.  This “power” can go to an engineer’s head and make them arrogant and condescending if they’re not careful.   So when an engineer begins saying things like, “What I’m hearing in this part should be organs and a cowbell track,” then they have crossed the line into the realm of producer.  It is a producer’s job to make the tough calls and finesse the egos to get a song to where he or she feels it should be.  It is the producer’s role to suggest that the guitar solo should be re-written to fit the song better or to nix it entirely in favor of a xylophone solo instead.


Often an artist will take on the producer’s role and make the decisions about how the song should sound.  Everyone should be clear about who is playing which role before the session begins.  There is nothing worse than a band starting to unravel as new chefs keep entering the kitchen.  If the whole band wants to “produce,” that’s fine as long as there is a good working relationship between bandmates.  What doesn’t work is when each band member is focused on their own element and nobody else is allowed to comment on it without touching a nerve.

Bass player: “This part needs more bass.”  Guitar player: “This part needs more guitar.”  Bass player: “Why do we need four harmony guitar parts in the chorus?” Guitar player: “Shut up! I’m outta here!”  Sound familiar?


That is why you generally hire a producer whose work you admire.  If you trust your producer, then when they make a suggestion, everyone in the band will probably listen without taking offense.  If the producer is the engineer for the session that you just met an hour ago, then you might not be that open-minded to their input (especially if you didn’t ask for any advice). Will the producer get paid by the hour or by the project?  Will the producer have any ownership of the master recording?  Will the producer get any writer’s share if they play an instrument on the track or re-arrange the song? Make sure if you are hiring a producer that you clearly work out the details of your relationship (and their compensation plan) in writing prior to the sessions.


If we’re looking for more analogies, then a producer is like a wedding planner and an engineer is like the caterer.  You don’t need to know how the caterer cooked the chicken, you just want it to taste good.  And you don’t mind taking advice from the wedding planner about where the tent should be set up and what the invitations should look like, because that’s what you hired them to do – advise you on the details to make your wedding as good as your budget will allow.  Now imagine if your caterer started giving you advice on your bridesmaid dresses…

With the wedding planner analogy, you hire a wedding planner who has helped create previous weddings (records) that you admire.  You don’t necessarily have to like the previous brides and grooms (artists), but the caterers (engineers) they hired and venues (studios) they booked should have impressed you.  The wedding planner (producer) should be easy to get along with and should be open to your personal vision for your wedding (record) and not try to make every wedding exactly the same.  They should understand and be agreeable to your budget and be honest about what can be attained with what you’ve got to spend.


What is it that you are setting out to accomplish and what is the best way to achieve that goal? Maybe your songs are all pretty well set in stone and you just want some awesome recordings of them and you don’t really need a third party’s opinion. In this case, you’d probably be best suited leaving a producer out of the equation and taking on that role yourself. Perhaps you are looking for that outside input, or you want to work with someone who can take your project to a new level. Hire a producer in this case. At the end of the day, whatever will best serve your project is the right path to take. And now that you know what to look for in these professional relationships, you’ll be better prepared to make these important decisions for your next record.


Zac Cataldo is a musician and owner/producer at Night Train Studios, a recording studio in Westford, MA. He is also co-owner of Black Cloud Productions, a music publishing company. Reach him at zac at nighttrainstudios.com.

Brent Godin is a bassist/guitarist and engineer/producer at Night Train Studios. He is also a talent scout at Black Cloud Productions. Reach him at brent at blackcloudproductions.com.