Enthusiasm!!!!!

Niall - Dahlia

How important is the enthusiasm and positive attitude of a producer when producing bands? And I'd love to hear some feedback from musicians who have worked with producers too...

Vocalists for example. My approach after a typical vocal take:

"Great, really liked verse two...the last chorus was lacking a little though, really go for it on this next one".

I like to be completely honest, blatantly sometimes. I get the impression most bands/singers appreciate it, but no doubt it can come across harsh and a little cold...and potentially effect their performance.

Now here's the thing...I was lucky enough to work with two producers over the past couple months who would be regarded as commercially successful, and they both had one obvious trait in common: cringe-worthy enthusiasm and praise after each take. Both their approach across the talkback after the same take would be along the lines of:

"WOW! That was absolutely fantastic, really feeling it...hairs on the back of my neck standing up here! You're sounding amazing today man, let's go for that again...sounds golden!"

Every single take was praise praise praise. They'd run into the room and hug the singer. High fives and fist pumps. Talk **** about how it was a hit. Ego massage basically. But it works...it gets a vibe and buzz going, creates an energy, you can hear it in the singer's voice, he's feeding off the enthusiasm, it's contagious.

I find it really hard to get that kind of enthusiasm going...it's just not me, I can't heap on false praise and do that whole bull**** routine. But I think it might actually be a very important part of being a good producer, and being somebody that musicians actually want around the studio...

Anybody have any opinions?

unclebill98

Emm, tough one.

I've not moved into the land of producing but will give an opinion if asked. But I'd not be using the language you've used above like "wow" etc, reads as annoying to me. As long as you know your place in the studio you should not go wrong.

If they are recording with you then I suppose there is a trust there that your opinion will matter. Nothing wrong with a positive atmosphere but keep it in line with the band. You could be recording Death Metal and find a sad atmosphere works well :-)

For example was in a studio last week laying down bass and the engineer kept saying "Woot woot" after someone done something, for me I wanted to punch him.....

i57dwun4yb1pt8

are we sure they are false ? maybe they are not ?
i think unless you are hiring some hot girls to sit there and act as inspiration .,

then someone needs to inspire performances , make them feel like they are on stage , whatever , squeeze the last bit of everything out of them.


probably wont work on bass players , and most drummers , but i can see how it would work on axemen and singers.

i love the studios purity , but it can be clinical and lack inspiration .
i always prefer setting a vibe when im recording , ie flashing colored lights , or candles depending on tune , incense etc - a more shamanic setup - and yes i think i like ego massaging sweet nothings in my cans to be honest.

Lbeard

Niall - Dahlia wrote: »

Every single take was praise praise praise. They'd run into the room and hug the singer. High fives and fist pumps. Talk **** about how it was a hit. Ego massage basically. But it works...it gets a vibe and buzz going, creates an energy, you can hear it in the singer's voice, he's feeding off the enthusiasm, it's contagious.

You're trying to coax a good performance. If you make someone feel insecure you're not going to get it. Though you may get a technically better performance. It will have less character. If you pump someone up you'll probably get the character. Irish people are terrible for doing that eye rolling paddywhackery - and then wonder why the character of the country is that of a repressed, alcoholic with a problematic drug habit.

I've just read Nile Rodgers biography. His opinion is in pop/rock technical performance is not where the thing is.

If you want to get Joe Strummer to sound larger than life, like Joe Strummer, you have to pump him up until he's larger than life. If you're rolling your eyes at him and wearing him down, you may eventually get a pitch perfect delivery but the character won't be there.

Lots of pitch perfect perfomances have perfect pitch but they sound like they're being sung by the most boring people on the planet.

Revolver Ireland

Singer here. Enthusiasm is where its at for me both in creating with my fellow muso's and being told I'm great in the cans Just makes you feel relaxed and happy that everyone is enjoying it and loving things as much as you. I would say its not so much ego, but dispelling peoples insecurities. Nothing worse than getting the impression that for the people involved its 'Just a job' etc, and sometimes you might actually start with the impression even before you start a session or meet the engineer/producer etc (not the producers fault of course), and if a producer acts as if they are really into it, it can just lift that off your shoulders. Wouldn't be into someone being really phoney though.

My 2 cent on it anyway..

Niall - Dahlia

Lbeard wrote: »

You're trying to coax a good performance. If you make someone feel insecure you're not going to get it. Though you may get a technically better performance. It will have less character. If you pump someone up you'll probably get the character. Irish people are terrible for doing that eye rolling paddywhackery - and then wonder why the character of the country is that of a repressed, alcoholic with a problematic drug habit.

Ok, leaving aside the analysis of Irish cultural repression for a moment...I agree with what you're saying, I get that you can coax a bit of extra excitement and character from a performance by pumping somebody up.

I guess I come from a more technical and critical angle, because I know if it was me recording a guitar part or a vocal, that's what I would appreciate from a producer. That's not to say I'm rolling eyes and killing the atmosphere, but I'd feel completely duped and fooled if a producer was telling me it was sounding great when I knew myself that it wasn't. I'd want honest no bull critique.

But what I've seen from some good producers is the complete opposite of "honest no-bull critique"...and it works, to a degree, depending on who the artist is. I think it's just as important as all the gear and technology we fuss over, to be able to bring that next level out of a performance.

Really my question was how common is the ability to create the conditions for a more emotional performance in successful producers? Impossible to answer but I'm willing to bet it's a very common trait.

Lbeard

Niall - Dahlia wrote: »

Ok, leaving aside the analysis of Irish cultural repression for a moment...I agree with what you're saying, I get that you can coax a bit of extra excitement and character from a performance by pumping somebody up.

Generally with things like drama groups, they do "trust" exercises before starting a rehearsal or workshop. This is to loosen people up and get them to trust each other. If people are uptight and paranoid they can't perform. But the sad truth is, there are people whose social behaviour is to make other people feel paranoid and uptight.

Anything that lowers inhibitions, without impinging on performance would be good. A single sherry might be useful. Two bottles; the kind even winos considered for cooking only; might cause problems.

That's not to say I'm rolling eyes and killing the atmosphere, but I'd feel completely duped and fooled if a producer was telling me it was sounding great when I knew myself that it wasn't. I'd want honest no bull critique.

You'd be right. But a lot people don't want to hear it - or can't hear it. One of the things Nile Rogers would do when people weren't hitting the notes or getting it would be to say "We're in the neighbourhood, we just haven't found the house yet".

But what I've seen from some good producers is the complete opposite of "honest no-bull critique"...and it works, to a degree, depending on who the artist is. I think it's just as important as all the gear and technology we fuss over, to be able to bring that next level out of a performance.

Considering the great performances captured on equipment far more primitive than we have today. The quality of the performance is the sine qua non.

American filmakers. The director does not look through the camera - that's the director of photography. The director is just there to coax the right performance from the actors.

Really my question was how common is the ability to create the conditions for a more emotional performance in successful producers? Impossible to answer but I'm willing to bet it's a very common trait.

The trait is probably rare as hens teeth. The great producers get it. Most people who produce, you can hear it's missing, whether the producer realises. You can hear it when it's not there.

I would say if you couldn't get it, you wouldn't have a career in producing commercial vocal performances.