Preproduction: What You Do

[TV Lenny]

I have recorded many bands now that have one or two really good songs but still could use preproduction. Their other material is ok to good, and could REALLY use preproduction. I haven't produced and did preproduction for a lot of bands yet but want to get more into it. I would like your spin on preproduction and things that have worked for your artists.

Example: My main thing is to define what a band expects of me. The last band I worked with was very open to my ideas. (a very good thing if your the producer!) Often times when engineering, I will make suggestions when asked my opinion. I like to go over the equipment they intend on using and the sounds over all they are shooting for. What type of studio vibe would they really respond to? Of course the arrangements of their songs. So forth...

What has worked for you? What hasn't? Thanks

[soundguy]

are you producing? Preproduction is really where the record gets produced. Its where you figure out what the band isnt ready to record and get them up to speed. Its where everybody figures out what the record wants to be. Most importantly, its where everyone gets to know each other. The smart producer will use proproduction to figure out things like how long of an attention span the lead guitar player has or how many drum takes the drummer can do before he gets frustrated and starts to suck. Its where he figures out how far he can push the singer and how easily new ideas are put to good practice by the band. A good producer will use proproduction time to evaluate how flaxable the band and material is, what direction it flexes and how it bends. If you arent producing, someone in the band really needs to take charge of rehearsels and figure this out for themselves, which can be very difficult when you are in the material yourself. Many people think producers are bogus, and many are, but its a real job and it happens in proproduction. The recording process is just the task of illiciting the performances that fill the idea that everyone decided upon in prep. This is often overlooked. Explains why there are not often amazing records being made.

All this said, you dont need weeks of prep to make a record. The last record I did was written entirely on the spot, think up the song in the morning, record it in the afternoon, and it turned out amazing. Some people are talented enough to whip it out like that and have bands that can respond to it in stellar fashion. Others will benefit from lots of prep with a deal of structure. Really all depends on the artist, what everyone is trying to accomplish and the things that need to happen to achieve the goal. Every situation is unique, its a human process.

dave

[TV Lenny]

I have mainly recorded/mixed. I still do but also am producing some bands. A lot of the bands don't understand that producing an album involves going into rehearsals with them and do some arrangement changes and so forth. Great info! I am trying to broaden my knowledge to better help the music and band but also to help me explain to clients why doing preproduction is so important.

[Seventh Wave Studio]

My pre-production can last from a few hours to a few weeks. It all depends on what the band wants. Many times, I storyboard all the songs, look for patterns that emerge and break bad songwriting habits. Set all the tempos and set tempo maps for changes from verse/chorus/etc. Usually I find that many bands need help with the bass/kick drum relationship (they sometimes sound like they are falling down the steps together!). Once that is locked in, then I set the vocals to the rhythm and bring in the guitar arrangements after that.

Also, it helps to get an idea song to song as to how they want the song to translate. For example, when you want a chorus to sound HUGE, make sure the verse is minimal. Many people just think of the literal (if I want it bigger I add stuff, right?) In order to show what is, show what is not. Going over all these things can really make the difference in a production vs. a recording. This also helps to get the musicians in the frame of mind for production. Many people think that the recording sessions are a reheasal with microphones. When I get the band to think in ways of production and layering (or non-layering), it gets things flowing and eliminates results that are not what the client wanted.

I do mostly non-radio-friendly rock bands, so this may or may not help. But, I hope this does help!!

have fun!

[lyman]

i'm the guitarist for a singer/songwriter type musician. he recorded the basic tracks, the drums and bass in this case, first. so for pre-production (well, before i started recording guitars. i guess production was technically underway so I can't call it pre-production), i took the rough mixes and at home, tried out guitar arrangements and different parts/layering. stuff like that is helpful because it saves time/$$ in the studio. of course, for some songs we decided to do something completely different on the spot, so forcing yourself to improvise keeps things fresh too. so i guess there's a balance between planning and spontaneity.

[spankenstein]

I wish more people (including bands I'm in) would take this approach in general! Work on your parts and have them good before playing them. I don't see why people are so resistant to this?

[Roboburger]

Tempo. I have had a session where the band did the backing tracks in the expensive studio a hair too fast. The singer just couldn't keep up and his effort sounded like crap. Working it out in advance coulda saved a lot of heartache. The dude got pretty frustrated, and stuff got tense. coulda been avoided.

[joel hamilton]

Pre-pro for me is just meeting the band, listening to some stuff, getting to know each other, and defining the overall feel the record seems to want...

[brian beattie]

Yes, all of the above, but I've found that "listening to some stuff" is one of the most useful preproduction activities of all. Everyone should bring their favorite records. I call it "the listening party". This can occupy many hours, and it's always a lesson in sonics, arrangement, and emotional projection. Plus it's loads of fun. (if you still like music, that is...) It also helps establish a sort of common language for the project. You'll hear MASSIVE differences in qualities and approaches, and it sort of gives a standard to aspire to as well as wiping the slate clean. (this record sounds WORSE, yet we all agree that it is actually BETTER......... These vocals sound HUGE, yet compared to THESE vocals, they have NO bottom end.... This old record sounds QUIETER than this new record, yet when I turn it up, the old record sounds LARGER and LARGER, but the new record sounds MORE and MORE ANNOYING!!!!!!!!! My god, the drums in "I want you back" by the jackson 5ive only come in in the choruses..... Jimmy page is OUT OF TUNE!!!!! Paul mccartney TOTALLY missed that note, and I NEVER NOTICED IT MY WHOLE LIFE!!!!!!!! )
It's alot easier to talk about "mistakes" and sonics and arrangements after you've had the listening party.
brian