Choosing a producer/mixer/engineer/recording studio* to work with for your band’s upcoming project is such an important step in the process and I’m consistently surprised by how little time and attention some artists spend on the decision. It’s usually seen with bands that are less-than-experienced in the studio or new artists that are just starting out.
I’m not knocking anyone here - there are a ton of fantastic engineers and most major cities will have a dozen+ professionals who could deliver results that are ‘good enough.’ The options can be a little daunting, especially if you don’t have prior experience working with anyone at that level.
In the Hamilton, Ontario area where I live & work, there are 6-8 great studios and at least that number of audio pros who are consistently putting out solid work - I’m lucky to call a lot of them my friends. On the flip side, there are many others who are trying to move up in the local recording scene and most are probably a few years away from producing the results that you’re after.
Before choosing someone to work with - for any phase of the production process - put some time and thought into the following considerations; it could literally make or break your release. Let’s explore some approaches to deciding who you’ll hire to take the reins on your next project.
[*We’ll be using terms like “engineer,” “producer,” and “mixer” interchangeably here for ease of communication. All of these points could be tailored to the specific role you’re looking to fill.]
Always, always, always listen to 3-5x recent releases that the prospective engineer has worked on. People in our industry are really only as good as their last few records… like, really.
This serves a few purposes - first and foremost, it will give you an idea of the current sonic and production tendencies of your engineer. Styles, tastes and treatments change with the times and someone’s work from five years ago may not be particularly indicative of their current skillset. Secondly, you’ll know if a prospective producer has been busy working on projects in the last year or so; a busy, in-demand producer will likely be worth consideration, especially if their recent work aligns with your goals for the upcoming release.
Checking out examples will also give you cues as to whether a producer has plateaued with their skillset or if they’re upping their game consistently and trending into a new level of quality with each successive project. I’ve literally seen producers elevate their work from mediocrity to top-tier in 12-18 months. This can be a great time to work with a producer, as you can probably lock in an attractive ratio of value-to-quality, and that producer will have a vested interest in elevating your project while they continue to gain stature and further their body of work. If your producer has skin in the game, that’s a good thing for your band.
—————
A quick note about up-and-coming engineers vs. SOME well-established engineers: There’s this strange scenario that I’ve seen happen, where a band chooses to work with a really well established studio or producer (think: long track record of big releases and credits) at a premium rate and then puts out a completely lacklustre record months later. Obviously, it doesn’t come up on every project from every highly experienced engineer, but I've noticed it enough times to mention it.
It’s as if the engineer only puts their best effort into working with the major artists that come through the studio, then does “just enough” on the projects that involve smaller, less established bands. The level of commitment and attention-to-detail seems to vary widely depending on the stature of the artist who is booking studio time, and the production process can be much closer to simply setting up mics and hitting ‘record,’ than actually working closely with the band to elevate their material to the highest level.
On three seperate occasions over the last few years, I’ve been brought onto projects that were already in progress and had begun at large-format (read: expensive) studios, only to dig into the tracks and find them to be pretty underwhelming. In all of those cases (as I found out later), the existing work had been invoiced at more than double the rate I was quoting to these bands, and they all ended up completing their project with myself at, subjectively, higher quality standards. And I KNOW that these studios were capable of top-tier engineering work… not cool.
Again, this is certainly the exception rather than the rule, but it’s something to be aware of before spending big money to get a ‘name’ studio onboard and thinking that high costs and notoriety will guarantee an equivalently high level of quality with your final product. Quite often, a lesser-known professional whose trending upwards will care more about your record and, subsequently, deliver a better, more complete experience. YMMV
—————
Beyond finding someone whose technically skilled enough to handle your project, there’s the all important question of finding the RIGHT fit. Many of us engineers tend to specialize in certain genres or approaches - those that claim they “specialize in all musical genres” are probably not going to nail any one type of material. There are, of course, exceptions but I’d say that’s true 90%+ of the time.
For instance, I work with “rock n’ roll music” almost exclusively… although I use the term a little more broadly than some, I typically won’t jump onto projects that are far outside of the punk, indie, and hardcore genres because there’s a certain level of familiarity needed when working within any style and I’ve focused my attention for years on becoming a solid rock mixer. If I’m approached by an artist about pop or hiphop projects (it happens) I’ll politely decline and often suggest another professional who does specialize in that type of work. I’ll rarely even bid on, say, a sludgy deathcore album, because I know at least three guys in my area who are more specialized in the niche and would simply do better work in that arena.
^ This is super fucking important to consider. Finding the right fit for your project goes a long way to ensuring you end up with a record that you’re proud to release. If an engineer is known for producing slick, highly-stylized pop-punk singles and your band is aiming to release a raw & abrasive full-length album, there are probably better options for nailing the right aesthetic with less friction in the process.
I’d recommend finding 2-3 engineers that seem to fit your criteria and then narrowing things down from there. Asking friends and colleagues in other bands that have previously worked with the engineers in question is a great way to get unbiased, honest 3rd party feedback about a particular producer. Absent of that, trusting your instincts is always a good route to take.
When you have decided on a few producers to investigate working with - and this is something a lot of bands don’t do well - reach outto all of them, and start a dialogue. Explain what your band is looking to do, chat details and get a feel for the person. Be upfront about the fact that you’re considering multiple engineers for the project and have a timeline in mind for when you’ll be making your final decision. Transparency goes a long way here.
Keep in mind; if you move forward with someone, you’ll end up spending many hours in a room together, so it can be important that you vibe well from a personality standpoint. I love meeting up with prospective clients in person, perhaps over a pint, to chat about project details and really get a feel for the band, their ambitions and communication styles. Alternatively, I’ve found that a video chat is better than a phonecall. If someone is difficult to hang out with in a social scenario, just imagine spending long days together in a small, dimly lit room. Not the recipe for a good, productive time.
It’s better to err on the side of asking too many questions, rather than leaving project details up in the air and hoping that the process works out smoothly. Your producer should be able to clearly define details like the cost of the project, basic timeline projections and what IS included vs. what ISN’T included in their quoted rate. Make sure you’ve discussed everything from pre-production through to the delivery of mixes, the mastering process, and how amendments will be handled, for example. Professional audio people are used to handling questions and concerns regarding the process and should be able to provide concise answers to any issues that are brought up. If you’re not receiving clear guidance to relevant questions at any point, you may want to look elsewhere.
While rates and pricing can vary widely from studio to studio, asking for rates from more than one potential candidate is a good way to understand where each quote sits within the wider landscape of your area’s rates. Sometimes, you’ll find two solid options that are priced similarly and you can go with the engineer that feels like a better fit. Other times, you might have a clear preference for one mixer’s style over another’s, but they are considerably more expensive… I’d recommend hiring the best engineer you can afford, within reason. The lower-priced option may very well be capable of delivering the results you’re looking for on-budget, or you might consider doing say, an EP with the more expensive producer you really want to work with, instead of an LP with the less desirable option. You might even find that one of your choices is happy to work at a reduced rate in exchange for royalty points. It can be worth exploring creative solutions when both parties want to do the record together.
While many producers have some flexibility built into their quoted rates, it’s generally bad practice to approach someone about bringing their rate down with the argument that “another producer will do it for cheaper.” If you legitimately prefer someone’s work over the other options, that’s exactly the reason you should consider paying their rate to hire them.
Whatever you choose, taking the time to work through the different scenarios will give you clarity and peace-of-mind with your decision and allow everyone to stay focused on the most important consideration of all - crafting the best possible release for your audience.
Once you’ve got all the information needed to make an educated decision, do so confidently and take the next steps with your chosen engineer. If you’ve handle your due diligence properly, you’ll have put yourselves on a clear path towards a successful experience and high-quality final product.