A Quote by Jerry Harrison
Some artists want a producer to be a kind of svengali - someone who actually creates a sound for them.
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I've always felt that most jazz artists don't need producers .. most jazz artists know what kind of sound they want. They don't need a producer to come in there and tell them, "Oh, I think you should do this." I've always found it very strange that there's been such a thing as producers in jazz.
The Stones are not the kind of band that want to get in the details. That's why they have a producer and engineer - to pull the magic out of them and make them sound so great.
The instrumental record is a bit subtler. It's the kind of stuff on sound check, when I first pick up my violin and start to play, the kind of melodies that just pour out of me. Some of them sound very classical. Some of them sound experimental, polyrhythmic loops that I make.
Back in the day, even if they were singing about the same things, each artist was unique. That's why I try to stay away from the big-name producers, so I can prove that it's not about the producer, it's about the artist. A lot of R&B artists have gotten away from being artists and are just chasing after the next hot producer and it all starts to sound the same.
I want to invite the mainstream into my world and to my sound and to what I'm doing. And I want mainstream artists to respect me and accept Latino artists as equals without us having to sing in English. I want them to know that I can compete globally, with whomever, in Spanish.
I don't want to be any kind of producer at all - hands-on or otherwise! I feel producing is a very difficult job and creates ulcers! Maybe some people would like to have a certain amount of control; not me. It's too much stress and includes managing everybody's egos... handling my own is enough!
The producer can put something together, package it, oversee it, give input. I'm the kind of producer that likes to take a back seat and let the director run with it. If he needs me, I'm there for him. As a director, I like to have the producer there with me. As a producer, I don't want to be there because I happen to be a director first and foremost, I don't want to "that guy."
When I think of the things that I want to write, I can never say them out loud because I know how crazy they sound. I know what things sound like when you haven't actually worked on the script, so I don't go around saying some of these ideas because they just sound awful.
A producer is someone who actually calls the shots. An executive producer is just a guy that eats more food at craft service.
I kind of like that thing of you being caught up. You think you can judge someone, and before you know it, you've been swayed by them, and actually you want more of them.
There are some artists that may actually be crazy, but there are some artists that just make different choices, and because they are different, we call them crazy.
Maybe it's easier to have that desire guest-spot-packed album, for example, you're a rapper and you need someone to sing the hook. I guess for us, it just kind of feels like we want to explore ourselves more. That sounds kind of cheesy, but I don't know. I have a lot of artists whose music I have this perfect relationship with, and I don't really feel like I need to meet them or get to know them or write with them because of it.
All music done, as I said, through low res mp3 and $5 earbuds and so I think as a producer or a band you want your music to sound good in that medium. Sometimes when I'm doing a mix I'll listen to it on my laptop, on the crappy speakers on my laptop. It lets me know what the tracks gonna sound like if someone else listens to it that way.
Those titles, Executive Producer or actor, are unimportant. I always try to approach my role as an artist. The first thing you want to do, that you attempt to do as an artist, is to have some sort of input into the material that you are working on. That is how my process begins; I say to myself: "I want to do this kind of work or I want to do that kind of work."
On every Bright Eyes record, there's some kind of sound collage that begins it. Some of them have dialogue, some don't. I like it because it can kind of slow down the attention span a bit. It's a way to draw you in to the rest of the record.
Compression is a necessary evil. The artists I know want to sound competitive. You don't want your track to sound quieter or wimpier by comparison. We've raised the bar and you can't really step back.
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