Recording Technology Is Your Friend

If you’ve been keeping up to date with my articles, you’ll know one thing about me. I’m a bit of a control freak. I talk a lot about “having control”, and “controlled environments”… and that’s because it’s part of my style. I’ve tweaked my techniques to help me feel comfortable, but more importantly I’ve developed my skills to help suit my needs as a producer.

Every aspiring producer has high hopes and dreams of being the next Dr. Luke, but we can’t lose our heads. We have to be practical. We have to think of our livelihoods and how we can build a name for ourselves. Sometimes that may mean compromising some of our beliefs for the overall benefit of our careers.

I’ve gotten a lot of flak for using Melodyne, elastic audio, and using MIDI instead of a real piano. But I wouldn’t change a single thing. As producers, we have to work with the hand we’re dealt. That means if a project comes in and their singer is tone deaf… we’d better be doing our damnedest to make them sound as pristine as possible. If our recordings don’t sound top notch, it’s going to be rough showing our past work to potential future clients. We’ll lose business and create a sub-par resume. Double the negative.

It may seem like you’re cheating, but trust me you’re not. You’re using your skills and the beauty of technology to create something beautiful. If not for you, that singer may never stand alone on his own two legs. Your job is to make artists sound better… that way they can realize their dream. In the process, you’re helping yourself and furthering your own career as well.

Recording technology also works to your advantage when you’re on a deadline. If you’ve booked out a week of studio time, you’ll want to finish all of your sessions on a schedule. If the drummer isn’t nailing his takes, you’ll need to consider punching in and out of problem areas and fixing flubs with elastic audio. Is it really worth it to re-record a fill that can easily be fixed with some quantization? Quantization will take 10 seconds. Re-recording could take hours. Sign me up for quantizing any day!

When it comes to MIDI, there are some fantastic plugins out there that sound like the real deal. I don’t know about you, but I can’t just put $10,000 towards a baby grand. That money would take me a lot further if it were spent on some solid gear and microphones… those I’ll end up using every single session. The piano may sit around for a month or two before a pianist comes through. And even then… are they a solid musician? With my old friend MIDI, I can always quantize!

I know many purists out there are going to disagree with my techniques, and that’s fine. Everyone has their way of doing things. As we build our pedigree, we can get away with more. It’s the reason Justin Timberlake can write a 5 minute song and get away with it, but if Johnny No Talent writes the same 5 minute song it’ll never gain any traction. You have to earn your way to the top… you can’t start there. Then, when you’re at the highest point of the mountain… do whatever the hell you want.


Overhead Microphone Phasing And Urban Legends

Nearly every sound engineer has dealt with phase. I have showed how to cancel an entire signal simply by duplicating and inverting the signal in this video. We’ve spoken about identifying phase by using phase inversion and listening for changes in the low end. But, how do we avoid phase issues?

This article will focus on drum overheads using the spread pair technique, but the principles will hold true for other studio applications.

Spread Pair Overhead Technique.

This is when we spread our two overheads apart from each other. Personally, this is my favorite overhead mic position. It provides an exciting stereo spread of the cymbals and natural tom panning. But, it can cause phase issues! The trick to avoiding phase is to place the microphones equidistant from the sound source. But, there is more than one sound source! Which source should we measure from?

There are two schools of thought on this:

1. Equidistant From The Snare. When you listen to the overheads, the snare drum is likely to be the most audible drum. If you’re like me, you will put a high pass filter on your overheads to better isolate the cymbals. This will cut some bass drum frequencies out, making the bass drum a less important part of the overhead mix.

2. Equidistant From The Bass Drum. If you are not intending to use a high pass filter, this is the method may be for you. This is a very realistic interpretation of a drum kit. The snare is not the center of the drum kit. That position belongs to the bass drum.

The best way to avoid phase issues is to keep the mics low and therefor closer to all of the drums. This is due to the speed of sound and the relative distance the microphones are from each sound source. The greater the height and microphone spread, the greater the time smearing. This discussion will continue below…

Time Smearing Due To Microphone Spread


The speed of sound is 340 meters per second. Meaning if one overhead microphone is 4 inches further from the sound source, it will take the sound 3/10ths of a millisecond longer to reach the furthest mic. 12 inches will get you about 1 millisecond of this time smearing.

I’d like to address an urban legend. Some colleagues have attempted to convince me that I must use the bass drum as the center of my spread overheads. They explain that low frequency sound waves move slightly slower than higher frequency sound waves. And they’re right about the psychics, but they’re wrong about the math.

And here’s why:

A frequency of 10 Hz travels 0.1 meters per second slower than a sound wave of frequency 100 Hz. This however is not a scalable equation. As sound sits in the more normal audible range, this speed change is close to negligible. (And as many of us know, 10Hz is not an audible frequency.)

But, let us walk through their argument as if it were:

Picture a signal generator. 340 meters away from the signal generator is a microphone.

The speed of sound is 340 meters per second.

If the signal generator were to generate a sound wave of 100Hz, it will reach the microphone in 1 second.

Now, imagine the signal generator were to generate a sound wave of 10Hz, it will reach the microphone in 1.0003 seconds.

This is a difference of 0.0003 seconds.

That is 3/10ths of a millisecond slower than the 100Hz signal over 340 meters!

Now think about one of your drum overhead microphones being 4 inches further than the bass drum than the other overhead microphone.

100Hz signal reaches the mic in 0.00029412 seconds

10Hz signal reaches the mic in 0.00029420 seconds

A difference of 0.00000008 seconds or 8/100,000ths of a millisecond

We have now put this urban myth to bed.

Please leave your comments and feel free to contact me directly at I’ll do my best to respond to you and answer any of your questions. Now, go out there and make great music!


How To Produce (Conclusion)

The “How To Produce” series has been a very satisfying compilation to write so far and I’m actually kind of bummed to see it come to a close. I’ve given a lot of advice and I hope you’re able to gain some knowledge from my writing. Producing is my life, my passion, and I hope it sparks the same in you. I’m going to keep this last part short and sweet… but if you want to read more in depth feel free to go back and check out the entire series!

The Importance of Connecting with an Artist

Making a connection with our clients is quite possibly the most important aspect of our job. We need to find the balance between our musical knowledge and our communication skills. Working with others is how we grow not only as producers, but as humans. We need to use our talents to create, inspire, and thrive.

The Importance of Drums

As the backbone of the music, you have to see the drums as the most important part of the song. Though they act as one instrument, you have to view them as several. The snare, kick, and cymbals have their own place in the mix and their own distinct sound. When listening to drums, there is a lot that comes into play, so you’ll want to be sure that everything works in perspective with the song as a whole.

The Importance of Guitar

The guitar acts as the meat of the song, and there are a lot of caveats when it comes to working with them. Whether working with heavy distortion, or completely clean tones, the guitars need to work organically with the rest of the music. Be mindful of the listener and make sure the guitars follow the drums. The tighter they are with one another, the better the song will flow.

The Importance of Bass

The bass is the fat of the song. The best advice when it comes to bass is to keep things simple. Be creative when the music allows it, but don’t try to reinvent the wheel. Follow the roots, use fills tastefully, and avoid overpowering the entire song.

The Importance of Vocals

As the flavor of the music, the vocals need special attention. They need to sit right in the mix, and they really need to convey that raw emotion. Dynamics are key. Lyrics are crucial. And remember to motif.

The Importance of Effects

Mixing plays a significant role in the final product. A keen ear can create emotions using reverb, delay, and a plethora of different interesting effects. Effects shouldn’t be forced and should stay true to the overall feeling of the music. Mixing can make or break a song and it takes years to master. So make sure to hone your skills and constantly practice your craft.

I want to thank you for reading this series. I genuinely hope it helps you out in your production career. Please use this advice and our entire site to your advantage… after all we created it to help! If you like our work, please leave a comment and let us know what you think. Here’s wishing you the best, peace and rock on!


How to Produce Effects (Part 6)

So far in this series we’ve gone over a ton of production techniques. (If you haven’t gotten a chance yet, definitely check out some of my earlier articles… they’re worth the read.) This week I wanted to focus a bit more on some of the fun stuff – producing effects within our mixes. Generally I like to work on my effects after all of the music has been recorded, so bear that in mind while you read on.

Keep It Simple

As uninteresting as it sounds, sometimes the simplest effects are the most… dare I say… effective? A radio filter on vocals is one of the oldest tricks in the book, but it always sounds so damn cool. A simple flange on your guitar tracks can pique the interest of any listener. And although you may feel like you’re going back to your old bag of tricks from time to time, keep in mind that the bands you’re working with don’t do what you do. They don’t know you added that same effect on 10 songs in the past 2 months. All they know is that it sounds hella cool on theirs. And if they’re happy, you’re doing something right.

Borrow From Different Genres

You may not want to let your metal bands know that you’ve been pulling inspiration from Taylor Swift, but if you hear something you think would work, go for it! Side chaining isn’t a typically “metal” thing to do, but sometimes it can work perfectly. Sampling and pitch shifting are big in rap, but you’ll hear them all the time in pop and rock. Different genres are constantly borrowing ideas from one another, that’s how music evolves. Try taking ideas you find cool and see if they work with different styles. You might just surprise yourself.

Keep it Interesting

Think of how your effects will sound in the song you’re working on. Every decision you make matters, and it affects how the song will be perceived. If you overdo it, your song will sound synthetic. Is that what you’re going for? Is that what the band wants? After you’ve worked out your effects on a single song, think of your effects in context of the album as a whole. If you’re working on a 10 song record, are you using the same effect too many times? Earlier we said it’s ok to use the same effect – but that’s over the span of 2 months and several different bands. You don’t want the record to sound like it was mixed by a one trick pony. Spread out those effects. Keep things moving and make sure each song has it’s own little taste of something special. The more diverse it sounds the more clout you’ll have as a producer.

Don’t Force It

I can’t tell you how many times I’ve heard effects that are completely out of place. If it doesn’t feel right odds are that it doesn’t belong. You’ll come across bands who want to throw some awkward effects on their songs and that’s fine. It’s your job to steer them in the right direction, and find the right balance for these effects. Just make sure you aren’t making any poor mixing choices yourself. Avoid things like overly effecting intimate vocals, or layering way too many effects on one particular track. If you’ve been working on a particular part of the song for a long time, take a deep breath, step away from it for a while and come back to it later. You’ll be able to listen to it with a fresh ear and more clarity. If in doubt, you can always get input from a second ear.

Be Creative

Firstly, you’ll want to make sure you’re using effects that sound good. So playing it safe is always a great way to go. But don’t let this hinder your ability to create. If you’re feeling innovative in regards to certain parts of the song then go nuts! Add effects, create layers and get weird with it! What’s done can always be undone, so it’s not like you’re stuck with what you create. Find inspiration from other mixers, other songs, and try to create your own sounds. Have fun, and be creative!
I hope you’re able to incorporate some of these ideas in your future mixes and I’d really love to hear what you create. You can always find me online and send me some of your stuff. Please feel free to comment below and send me some links! As always, thanks for reading. Peace and rock on.

How to Produce Vocals (Part 5)

Last week we took an insightful visit into bass production. At this point we know what to do with all of our instruments, so now we’ll start making our progression into vocal territory. There are a few simple techniques that will really help your songs to shine, so grab a pen and get ready to start taking some notes on how to produce vocals!


Motifing is something I talk about a lot. But what exactly is it? Motifing is keeping a pattern to your vocals both melodically and syllabically. An easy  example is in twinkle twinkle little star. Think of the line “Up above the sky so high”… it motifs perfectly with “Like a diamond in the sky”. It’s the same melody and same rhythmic pattern. The benefit of this is that your songs are more prone to get stuck in a listening audience’s head. Verses tend to mirror one another, as well as certain lines in the chorus. This way by the mid point in a song, listeners already know what to expect and are more likely to remember the tune. This is how you create an ear worm.

Feel the Emotion

When producing vocals, you’ll want to keep an ear out for raw emotion. Vocal cracks and quivers can actually add a huge dynamic to the vibe of a song. They show a side of human frailty that can hit listeners right in the feels. Always be on the listen-out for for vocal takes that have that extra “special sauce”.

Pay Attention To The Lyrics

When listening to vocals, you’ll want to pay specific attention to what the lines are actually saying. If the first and second lines of a verse are contradictory, ask yourself why. Was it done intentionally? Does it make sense in the context of a song? If not, help your artist to make sense of it. And remember to use a lot of imagery. Don’t just describe something as it is, think back to english class and use those similes/metaphors!

Vary the Dynamics

Remember to match the vocals with the music itself. At softer parts of the song, have the singer sing breathier. At more intense spots, ask them to sing through gritted teeth. This brings a lot to the song. Don’t forget to play around with different vocal speeds as well. If your verses are slow moving, try picking up and singing quicker lines on a pre-chorus. Adding that push and pull can bring some well needed tension into your music.

Background Check

Adding background vocals can really help your songs to pop. Background ooo’s and ah’s can lift a chorus. Lower harmonies can warm things up. Overdoing backgrounds can make songs sound very produced, but some bands are looking for that overly processed sound. Listen for what works with other bands in similar genres, and borrow ideas from different styles. Remember not to throw background vocals on intimate parts of songs, it can really take away from the raw emotion we spoke about earlier.

Next time you’re looking to track some vocals, you’ll want to think of all these things. You’ll be amazed at how some small changes will improve the overall quality of your final mixes. Which techniques are some of your favorites? What else are you listening for when tracking? Leave me a comment below and let me know!


How to Produce Bass (Part 4)

Last week we dug deep into producing guitar. This week we’re going to move into the groovetastic world of how to produce bass. As producers, we’re listening to the songs as a whole and simultaneously breaking down the individual performances of each instrument. We know how important the drums are on a record, and seeing that the bass completes the rhythm section, we have to view it as equally significant. So let’s start reviewing.

Follow the Beater

First and foremost we need to understand that the drums and bass are like peanut butter and jelly. They’re best friends – not meant to be separated from one another. Drums and bass should “lock in”. The bassist should make a conscious note of where the kick drums hit and he should be matching his fingering pattern accordingly. If the kicks are hitting on 2’s and 4’s and the bass is hitting on 1’s and 3’s, we’ve got a problem. Make it match and your songs will sound much smoother.

Don’t Play Lead Bass

I’ve seen it far too often… the bass player in a band is not a bass player. He’s a “lead bass player”. A converted guitarist who hasn’t studied his craft well enough. The bassist is a supporting role – not a main character. It’s meant to pad the songs, not to take over (unless your name is Flea… or Victor Wooten). Have the bass player avoid overplaying and definitely don’t let him solo at inappropriate times. This leads perfectly to the next tip…

Keep it Simple

Although it may sound boring, 99% of the time keeping it simple is key. Bassists may fiddle around for hours trying to find the perfect lick, only to find it muddles the mix in the end. It’s amazing how following the root notes can actually make a song pop. Avoiding too many passing tones is also essential for bassists as they tend to muddy the mix. Chromatic notes on a bass don’t always translate as well as the same line that may be played on a lead guitar. The low end messes with your ears.

Watch The Fills

Fills are terrific. Listen for the drums and try to follow them when you can. Match the toms, hit a harmonic on a cymbal ping, and highlight those embellishments. But don’t overdo it. Fills lose their appeal if they’re played too often, so don’t throw them in after every single chord rotation.

So next time you start tracking some bass, take all of this advice into account. It’ll help save you a headache once you start mixing. Low end is always a problem and you’re always better off tracking things correctly in the first place. What tricks do you like to use when you’re tracking bass? I’d love to hear in the comments below!


How to Produce Guitar (Part 3)

If you’ve been keeping up with the series, you already know what you should be listening for before you even press the record button. You should also be an expert on drums… and today, you’ll be a pro at producing guitars.

Growing up as a guitar player, I’ve always paid attention to the chords, the leads, and every lick in between. But playing guitar and actually listening to the guitar are two completely different concepts. Even the greatest guitar players can use a little guidance when it comes to tracking on an album. A few simple pointers can make an insane difference.

Think of the Listener

Not every guitarist wants to hear it, but they are not the center of the universe. They may have more finesse than Slash, and more licks than Clapton, but are they using them correctly? If you’ve got a guitar player that is soloing throughout the entire song… you’ve got a problem. For the most part, when the vocalist is singing, they should be the focal point. The song needs to breathe. The listener needs time to digest and process all of the emotions in the music. It can cause a real headache if there are too many things happening at once. So please, for the sake of the listeners, keep your guitar players in check.

Listen to the Drums

You should really break things down by instrument. Listen to how each one plays off of one another. Are the drums building? If so, the guitar should follow. Do the drums hit a stop on 3 and the guitar stops on the & of 3? Well, that’s going to sound sloppy on a record. Everyone should be on the same page. Stop together. Build together. Match one another dynamically. This will make for a tighter and more coherent sounding record.

Building the Song

You always want to keep things moving on a record. I’ve said it before, and I’ll continue to say it… At live shows, you can keep an audience engaged. We need to find a way to keep them just as focused when they’re solely listening. So how do we do this? Easy, build the song. On double verses, consider adding a lead at the midway point. You could always add extra beats to the strumming pattern as the song progresses, and you can even play more complex chords as the song goes on. There are plenty of ways to move the song, and remember to try pushing forwards. Keep the feel of the song, and build the emotion.

Subliminal Padding

A great way to lift a chorus is with a little thing called subliminal padding. One of my favorite bands that do an incredible job of this is Coheed and Cambria. Why do their chorus’s hit so much harder than the rest of the song? What’s their secret? It doesn’t even sound like the lead is doing anything special! Well, that’s the beauty of it. The guitar isn’t doing anything special. Doubling the rhythm guitars and playing simple octaves that follow those chords is an amazing way to build a chorus subliminally. The audience will feel the song get bigger and they aren’t sure why. This is a great technique to throw into your production portfolio.

Beware the Wall of Sound

Sometimes too many guitars can actually be a bad thing. You’ve heard the term wall of sound, and sometimes it works. But if you allow the guitarists to run the session, 99% of the time they’ll throw as many guitar parts in as humanly possible… It’s in their nature! Your job is to keep things in order. You won’t be able to mix 8 guitar leads at the same time, there just isn’t enough sonic room. So keep things simple… it’ll save you in the long run.

Next time you’re recording guitars, keep some of these points in mind. You’ll be surprised at how much these simple tricks can help. Are there any tricks that you use when tracking guitars? I’d love to hear from you. Let me know in the comments below, I look forward to talking more! Peace and rock on.


How to Produce Drums (Part 2)

First of all, I’m really excited to be writing this series! I think it’s going to be very beneficial for a lot of my readers, so please feel free to spread the word! I grew up as a guitar player, and when I first started producing all I ever focused on were the chords. I mean drums, really? Are they even that important? When I was 16 I remember saying that a good song is always going to be a good song regardless of what the drummer is doing. (I also thought Bulbasaur was the best Pokemon.) But guess what… I’m not 16 anymore. I grew up. I learned a LOT about music. Drums can absolutely make or break a song… and more importantly Charizard would obliterate Bulbasaur in a battle. Here are a few non Pokemon related tips to help you out when you’re looking to produce drums.

The first thing to bear in mind is that you are the conductor. You’re leading the sessions. But you’re not a dictator. Your word is not gold. You give advice, and the band will either take it or leave it. Certain changes may sound weird to a band initially, (especially when they’ve only ever played their songs one way), but if the advice is good, and the band is open to great ideas, you’ll win them over sooner rather than later.


This is easier said than done when you’re dealing with some drummers. My ear is always instantly drawn to the kick drum. When I hear a complicated bass drum pattern that doesn’t match the song, I’m trying to figure out why. I’ll ask the drummer why he has so many kicks, and most of the time he didn’t even realize it. Some other band members are just like a younger me, in the sense that they weren’t overly concerned with what the kick drum was doing. But on a record, these things are important. You’d be amazed at how much a simple 4 to the floor can improve the overall feel of a chorus.

Listen for Dynamics

Again, sometimes drummers have a tendency to get lost in their playing. (Other instrumentalists do too, but when the drummer does it, it stands out so much more.) Listen to the drums in context of the song. Should the drummer be playing on his crash cymbal during a palm muted, vocally driven verse? Or might it sound better if he switches to a closed hi-hat? Sure the ride cymbal sounds cool during the the bridge where the guitar rings outs, but wouldn’t it feel warmer if the drums had more space, maybe half time on the floor toms? Don’t be afraid to experiment with different feels making the drums bigger and smaller as the song opens up and gets softer.

Think of the Listener

This is a pretty interesting idea. Assume you’re writing the record for people who don’t fully understand music the way you and I do. You need to tell the audience what they’re listening to. Make it blatantly obvious. If you’re playing your verses on a hi-hat, switch to an open hi-hat for the pre chorus. Then really open things up with a crash cymbal for the chorus. Not only does it make the songs sound more coherent, but the audience will feel the changes and follow the songs easier. Engaging the audience in such a way will lead to more people grooving to music at live shows. Try it out, you’ll be surprised, and your bands will be highly impressed with this simple piece of advice.

Don’t Be Busy

Stop the drummer from trying to be the center of attention. He’s a supporting character. On drum solos he can go as bananas as he wants, but when the vocalist is singing an intimate lyric, the audience should be focusing on his words. I don’t want to be drawn into a powerful verse, then have it ripped away by a drummer who insists on playing a fill that is completely out of place. This goes for crash cymbals as well. They don’t have to play crashes on every down beat in the chorus, sometimes it works, but usually it’s just overkill.

Transitions are Key

A beautiful transition can lift a verse, make a chorus pop, and improve certain parts of the song. If moving from a verse to a chorus feels awkward, consider changing the drums around. Hitting a stop at the end of a verse is a nice trick that can make a chorus hit hard. Building up to a chorus can really lift it, and sometimes the perfect fill can really solidify select parts of the song. Try out a bunch of different ideas, and always keep in mind, it all starts with the drums. All of the other instruments will build off of what they’re doing.

I really hope you take this advice into account next time you’re looking to produce drums. I’d love to hear some of your experiences, so definitely write a comment. What have you found works when you’re recording drums? I’d love to hear from you. Thanks for reading, and be on the lookout for next weeks article on guitars. Peace and rock on.


How to Produce (Part 1)


The last article I wrote focused on the transition to producer-hood. After writing it, I received a ton of responses from musicians who couldn’t quite see the difference between the two. So today, I’m planning on clearing up some of the confusion.

Someone Who Plays an Instrument

When I talk about musicians, I’m talking about anyone who plays an instrument. Think back to when you first started honing your skills. When you were learning to play scales on a guitar, what was your main focus? I know when I first started the only thing I could think is “Am I even holding this thing the right way?” Then, as I got more comfortable my focus shifted. I started to pay attention to how hard I was pressing the strings. They needed to be held down all the way, or else I’d get fret buzz. Once I got my technique down for holding the frets and picking correctly, I could pick up the speed of the scales and really start grooving. The point is, the more I practiced, the more I could open my mind and see a bigger picture.

Becoming a Musician

When you’re playing alone, your focus is on yourself. So as you make the transition into playing with a band, now you start learning to play with 3 or 4 other guys. You learn to adapt, and you learn that you are not the main focus. You all need to contribute together in order to create something that blends well together. If the drummer wants to play a solo in the middle of every single verse, the only person who’s going to want him around is himself. So he’s stuck as a merely “a drummer”. Every other instrumentalist (including soloists) who can visualise a bigger idea is more of a “musician”.

Using your Musician Skills to Produce

Having an open mind allows you to progress smoothly into producing. It isn’t easy, because as a producer you must give up a ton of control. Some musicians are not comfortable giving up that control, and that’s completely fine. Different strokes for different folks. I prefer guiding others and helping them adapt their skills. (I think it’s the teacher instinct in me.) Using your skills as a musician who can see things from a broader perspective can help others in amazing ways.

Play to the Strengths of Others

One of my favorite things about producing is the talent of the artists I work with. I’m not a drummer. I don’t have an amazing voice. I can’t shred like Slash. But I’m a A+ player when it comes to the basics. So if I’m working with an artist who has an amazing voice, and I hear a beautiful melody in my head, you can rest assured I’m going to share that melody with her. Before she even sings it I’ll have full confidence that she’s going to absolutely kill it. When we have confidence in ourselves and our abilities, and we combine our tenacity with the pure talent of others, the possibilities are awesome.

Think of it like making a movie. The producer is the visionary, the actors are the talent, the crew get the job done, and the writers make it all possible. Find your skills and run with them. Find your passion and follow it. I love producing. I love helping others. And it still allows me to be a creative musician. I’m going to build off this idea in my next series (which will go into exactly what producers are listening for before they even start recording each instrument), so please be on the look out. And as always, thanks for reading. Peace and rock on.


Transitioning from Musician to Producer

So you’re looking to hang up your guitar, jump into that big comfy chair and twist a few knobs around, huh? Well, first you have to make sure it’s the right decision for you. Are you really willing to give up touring and live shows? Can you give up your creative control and allow someone else to take the lead? Do you really want to be the person behind the curtain? If you answered yes to all of these questions, then let your journey from musician to producer begin!


First things first, you can’t just jump into production without some working knowledge of a DAW. You’ll need to learn how to track, edit, mix and master before you get into the actual production side of things. The reason for this is that you want to know how each and every aspect of the process goes. You’ll use this knowledge to your advantage as you take your bands through the entire recording process. Once you’ve mastered your skills as a mixer/engineer, you’ll really need to start studying different genres to tackle the fun that comes with production. 

Leggo Your Ego.

If you want to make it in this business, you can’t have an ego. Let the other guys have theirs, but you’ve gotta be cool. Remember, the bands you’re working with are the stars. You’re just there to help facilitate the process. They get the glory, even if you put in all the work to get them where they need to be. 90% of bands won’t appreciate or even truly know how much you help them out. But don’t get discouraged when this happens. You’ll be building up a portfolio of great sounding songs, and it’ll make you a better producer in the long run.

Become More than a Musician.

To become a producer, you’ll need to acquire some chameleon skin. Most people hear the word “producer” and they automatically jump to the conclusion that this person has no idea how to play an instrument. In 99% of cases, this isn’t true. Most producers have some knowledge of an instrument – but their true genius comes from their knowledge of more than just that. They have a keen business sense… they’re multi-taskers… they can think on their feet… and deal really well with people. They are leaders, inspirational speakers and hard workers all blended together. Being a producer encompasses far more than just playing a few chords.


Never stop hustling. There will always be someone out there trying to be the best. Trying to be better than you. Don’t let them. Push yourself past your comfort limits and do what you can to grow as an artist. Are you killing it on the pop punk front? Then get some bands in that play hard rock. Don’t feel comfortable working with metal? Well, get yourself a few metal heads and record some tasty licks. Don’t just settle for ok. You wouldn’t have done that as a musician, so don’t do it as a producer either.

I hope this article has piqued your production interest. If you’re looking to make the transition, or even to record as a hobbyist, I’d love to hear from you. What have you found to be your hardest mountain to climb? What have you enjoyed or dis-enjoyed? Please leave a comment, I’d love to hear from you and discuss!