Career Description
Music Producers
write, arrange, produce, and record songs, whether they’re shaping the sound of
another artist’s album or creating beats or songs for their own projects. With
the growth of home recording technology and boutique recording studios, many Producers
find themselves pulling double or triple duty as Studio Owners and Sound
Engineers, as does the Rattle Room’s Jaron Luksa. He says, “I am responsible
for every aspect of my business and it’s definitely not all rock ‘n’ roll
glory. A typical day for me starts with checking my Producer notes, prepping
the studio and checking gear functionality. If something is broken, I’d rather
have a fix or workaround figured out before anyone is in the space. Once the
client shows up, I want my attention 100% on the artist and the music creation
process. Nothing else comes first. I usually work for about 10-12 hours with
lots of ear and mental breaks worked in throughout the day. While on a break, I
am usually attending to phone calls, emails, texts, social media and even
accounting. There is a lot of work that goes into being a Producer outside of
the studio such as attending rehearsals, meetings, writing sessions, and going
out to shows. Social media has given me the ability to connect with more
artists than ever, but in-person interaction will never be replaced. Half of
producing is the music, the rest is sales…and I am the product I push.”
Music Producers work
with Recording Artists, Recording Engineers, Session Singers and Session
Musicians, among others.
Advancement
Production is an
extremely competitive field, and advancement comes as a Producer builds and
diversifies his or her skill set or works with more prestigious artists. Some
begin their careers while working out of a home studio before generating a buzz
and being invited to work on big budget projects. Luksa puts it this way. “Lots
of little kids dream of being star athletes, but they’re more likely to win the
lottery. The music industry has a similar statistical likelihood for artists
and all us production folks trying to reach the top. I think Producers need to
be realistic about the current and evolving state of the music industry. The
game has changed and you have to be more than just a Producer nowadays. So many
of my peers not only produce but play on records, write, engineer, DJ, program
tracks or function as artists themselves to pay the bills. You have to ask
yourself the question, “what kind of records do I want to produce?” because you
need to be in love with the work. There is no guaranteed financial success.
Competition is crazier than ever and the current demand for free content
doesn’t help. You need to pick this line of work because you refuse to do
anything else. It’s a hustle, and you are constantly looking for the next gig,
even while working on a current project.“
Education & Training
“Yes, formal music
education is a must (know the rules before you break ’em),” Luksa says. “This
industry runs at lightning speed as far as technology goes, so learn the basics
from trade schools, or music schools with recording arts/music engineering and
production programs. As you learn to use new gear or software, you can use that
formal education as a platform to grow on. Next, apprentice with someone who is
respected in the part of the industry you want to work in. You need to follow
production trends and methods. Which, btw pretty much involves eating cereal
and watching a stupid amount of YouTube videos on “how to” in pajamas.”
Experience & Skills
When it comes to
necessary experience and skills, Luksa says, “there is no right path or
specific skill set that will make you a great Producer. Some folks will get
into producing by way of helping a friend record while playing/writing on said
record, others will just be crushing tracks out of their bedroom and word gets
around, while others might come to produce because they are engineering and
start helping bands get through the tracking process. There is no one single
magic solution to launching your career as a Producer. Play off your strengths
and fake the rest!”
The two things that
are essential are passion and a diverse skill set. He says, “As a Producer, I
contribute with engineering, playing, writing, arranging and creative guru
skills. I approach listening to songs, bands, and artists from a fan’s
perspective. I aurally digest music CONSTANTLY. If a great track comes on, I
get a rush of dopamine from my brain. I truly am a music junkie. That being
said, I think it comes down to my tastes and how I am able to listen to music
like a multitrack machine, focusing in on each element at will. I can
objectively give feedback to the artist, regardless of what I would do or my
musical influences. I try and produce according to that project’s genre and
most importantly who the artist is artistically and how I think fans might
react.
Personality
So what kind of
person would be successful as a Producer? Luksa says the ideal candidate is
“organized, assertive, artistic and a great communicator. Someone who can lead
the pack and rule with love, even when getting evil with some Norwegian death
metal band. In the studio or rehearsals, artists look to you for answers, so
you need to be thick-skinned and even-keeled. Artists bring enough drama,
insecurity, and emotion into the sessions; [there’s] no need to add your
baggage, so keep your BS and ego at home.“
Lifestyle
Working as a
Producer can be time-consuming, with late hours, long days in the studio, and a
constant scramble to get paid work—at least when getting started. Luksa
advises, “When you first start, take any gig you can at the drop of a hat. Date
with the significant other planned? Guess what, canceled. Going snowboarding
with friends…nope taking the call. It will suck at first, but the real people
who support your dream will understand and love you regardless. Let other
Producers [be the ones] being flakes or screwing up, [this can] be a good
opportunity to prove yourself. If you become dependable, clients will start
calling you first. Half the battle is just being the individual to get the job
done in a timely manner. After a few years, you can start booking yourself some
normal hours. I try to work from 10 am to 10 pm and take the weekends off, but
it doesn’t always work out that way. The associated stress isn’t for the faint
of heart, but it does have great perks. Working in the music industry immerses
you in an environment of art and culture, allows traveling or vacationing
whenever and however much you want. I always have backstage access and attend
lots of fun events by invite. Ultimately this environment will change and shape
your future, and if you are any good, you will affect the musical environment
around you.”
Employment
So how does an
aspiring Producer land that first gig? Obviously, it isn’t as straightforward
as submitting an application or a resume. It’s about taking advantage of
networking and learning opportunities. Luksa says, “A few years back while I
was still in school, Butch Vig was quietly standing backstage at Avalon in
Boston (he had performed with Garbage). I was working production but snuck over
and kindly asked this same question you posed here. Butch told me that he and
some friends got a place and gear to track some punk bands and make records.
The rule was that bands supplied beer as payment. It worked because a lot of
bands showed up.”
Luksa started
gaining experience early on. He says, “I attended Berklee’s Music Production
and Engineering program, interned with a bunch of Live Sound Engineers and was
offered a job mixing monitors for a Live Nation venue in Boston (Axis). I think
[for] my 10th show, I ended up mixing monitors for a Bon Jovi acoustic
show/live radio broadcast. . . .My interaction with the band and Jon was
professional and I didn’t screw up. After the show, I realized ‘I know what I
am doing…I can hang!’ For the next 6 years, I was mixing live and interacting
with all these bands on a nightly basis. After the shows I mixed, I would
approach the best local bands opening for the national headliners and ask them
to take me into the studio to make records (I told you… it’s a hustle and I
figured out my angle). I became part of a scene and networked my ass off to
find clients who would pay me to go into the studio with them. I guess that’s
how I broke in…? That was a good 12 years ago….Fast forward, I have toured
around the world as a Live Sound Engineer and Tour Manager for some amazing
artists and built a studio, The Rattle Room, where I produce and engineer all
kinds of music. Oh, and I still cruise on a tour bus and do the Rock Star thing
once in a while.”
Earnings
Luksa says, “I’d say
starting salary is hard to nail down….In bigger cities and music industry
hotspots, the money is a little better for a per track rate…but the more you
work and the more “at bats” you get, the more likely you are to have a record
“make it” and end up with more business. When looking at ways you can earn
money as a Producer, take my advice and get paid up front! Create a simple
“Producer’s Agreement” with a Lawyer that you can edit and use over and over.
(It’ll be the best $500 you ever spent.) Don’t waste time with points and
backend troubles, you won’t see that cash anyway. If you help write songs or
hooks, figure out your writers and/or publishing split for that song and
confirm it via email with other Writers until a formal split sheet is created
and signed. That is the backend you should be concerned with.”
Unions, Groups, Social Media, and Associations
Producers aren’t
unionized, but networking and community are vital for success. Luksa advises
fledgling Producers to “register with a PRO [Publishing Rights Organization] so
you are prepared for writing and publishing royalty collection. Go out to shows
and become part of your local scene, make friends and create contacts with
Session Musicians, other Engineers, and Producers. Keep that part grassroots.”
Online, he says,
“there are so many resources out there, it just depends on the music and scene
you want to be a part of. Stick to where your clients might hang their
interactive selves or follow other Record Producers or Engineers you respect.
Always follow trends within your project’s marketing demographic via Billboard
or other reporting. You don’t have to buy those records, but give them a
listen. I really dig Sound On Sound, Tape Op, Mix Magazine, and Gear Slutz
forums (especially when I have software or hardware questions).”
Getting Started
“Find an artist and
start, even if you have to do it for free. Trial by fire is the best way to get
your hands dirty. You will learn more from your mistakes than your successes.
This applies to not only creating the music but the business aspect as well.”
Big Ideas
What is the single
biggest suggestion you would give to someone wanting to get into this career?
“Be yourself and go
with your gut. This is art. It should be fun, inspiring and just fly by the
seat of your pants crazy. Go make real music!!! If it catches on like Amy
Winehouse, Black Keys, Jack White, Adele, Liam Bailey, etc., then you actually
served a purpose in producing real art and we need more of that. Back in the
day, we had music industry gurus that decided what was good music and what
people should listen to on the radio. Unfortunately, those folks have all left
this earth or stopped making records. Even worse, they have been replaced by
marketing and accounting personnel.”
What’s the #1
mistake people make when trying to get into this career?
“We don’t need more
Producers making tracks for pop bands. The sounds have become so uniform, I
can’t even hear a voice or any resemblance of artistry on the track. . . to be
honest, I can’t even distinguish who it is sometimes. If your plan is to make “hits,”
realize that you are making the Coca-Cola of music. It has to appeal to the
largest audience possible and ends up pretty bland. That’s not to say that
there isn’t good pop music, but the pop market is so over-saturated. No one buys
that music anyhow and the record companies have had to shift how they make
money. The big record companies serve the purpose of content creation for
commercial applications, selling movies, soda, cars, and other products. It’s
just not my bag because I care about the music more than the money. I’m not
trying to put down the folks who do this work, I just want to inspire more
people to produce out of love, not for the bling.”
What is the question
people should ask about this career but rarely do?
“’What is the
biggest personal reward in producing?’ Seeing or hearing your name mentioned in
association with a record you believed in and loved makes it all worthwhile.
Everyone who works a “normal” job and receives a paycheck every week also
craves recognition for a job well done. We are human and full of emotional
needs, regardless of the situation.”
What is one thing I
should have asked which I didn’t?
“Who is my favorite
Producer or who do I look up to? Rick Rubin. The dude is a big weirdo, but he
launched a hip-hop scene, produced true gems like Tom Petty’s Wildflowers,
created a record label that supported huge acts like Slayer and System Of A
Down, revived careers of bands like The Red Hot Chilli Peppers, Johnny Cash,
Black Sabbath and Metallica. I feel he is one of the last
Producer/label/A&R people that can create with a sense of artistic
integrity and still achieve commercial success.”
If you could
describe in one word what makes you successful, what would it be?
“Determination.”
SOURCE CREDIT: Jaron Luksa is a Music Producer and
Sound Engineer who owns the Rattle Room, a private professional recording
studio in Burbank, CA. His recent studio engineering and producing credits
include The Gitas, John Legend, Fifth Harmony, Foster The People, Andra Day,
Zoe Boekbinder, Amanda Palmer and Dustin Boden and the Grownup Noise. He has
also provided live sound and/or toured with The Dresden Dolls (Monitor or FOH
Engineer and Tour Manager), Angelique Kidjo (Monitor Engineer), Secret Machines
(Tour Manager and FOH), Amanda Palmer (Tour Manager and Monitor Engineer), Zoe
Keating (FOH Engineer), Margaret Cho (Tour Manager), Collective Soul (FOH or
Monitor Engineer), Connor Oberst (Monitor Engineer), Dawes (Monitor Engineer)
and Alabama Shakes (Monitor Engineer).
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