I am so excited to let you all know that Becca, an amazingly talented rocker, who is also the first artist I have signed to Kissing Booth Music, has released her first album "Alive!!" here in the US.
Becca has already had incredible success over the last couple of years in Japan where she has released two solo albums and has just released an album as "Bennie Becca", a collaboration with the incredibly talented Bennie K.
For more on Becca go to her main US site: www.beccaofficial.com
Here is a recent interview I did for a student about how I see my role as a producer. Hope you find it interesting.
1) What are some of the most difficult aspects of this career that you have come across?
Trying to stay current on the newest studio equipment and gear in general. I learned Pro-Tools in the early days and got hooked into the system I learned on. I am much more of a right-brained creative person. The only reason I learned how to use studio equipment at all was to give me freedom. Of course, now I love it and find it fun. Another part that can be difficult, is keeping organized data files, especially when working with other engineer, mixer, or producer who is uses another organizational system. It’s so important that files do not get mixed up or lost. Budgets are also a critical part of producing, but can be really confusing, especially when it comes to paying from union scale, rates, etc. I have found it is best to hire someone to handle the booking aspect of a record; studios, musicians, engineers and the overall recording budget.
2) What inspired you to go from being an artist to a record producer?
Learning Pro-Tools while I was still making records and producing my own albums, was invaluable for my future as both an artist and a producer. It gave me the freedom to record whenever I wanted without waiting for a studio, engineer, or having to watching the clock. At the time, I had no idea I was heading towards producing for other artists. Once I learned Pro-Tools, it just seemed natural.
I was doing a lot of producing all along, I just didn’t know that I was doing it. It was mostly just a conscious decision of putting on a different hat and being comfortable with it.
3) What are some important interpersonal skills needed for this career?
Being able to bring people together. Not only do you need a great network of musicians, engineers, studios, etc., you need to be able to create an environment that encourages and fosters creativity. That can be tricky if people have just met and they are doing a session for the first time together. It is the producers job to “get the party started “ so to speak and keep the energy positive.
Being positive and appreciative. If you let others know that they are appreciated, they’ll want to give you their best and love working with you. It’s important to maintain a positive attitude about work and about life. Sometimes, it can get very stressful in the studio, and it is my job to keep it to a minimum and somewhat away from the artist.
Observe what’s going on in other people’s lives. Sometimes an artist will just have a bad day. You can’t personalize it. Yet, I always try to open the door for a conversation and let an artist know they can talk to me about whatever they need. This may include any issues they may have with the project or with me.
Listening actively and openly shows that you intend to hear and understand another’s point of view. I always try to follow up on artist’s suggestion or request, even if I don’t think it will work. If they see me as someone who will listen to their ideas they will grow to trust me.
Know how to resolve conflicts. There will always be some conflicts, and how you handle them is very important to the vibe of the project. I always find it best to resolve conflicts when they arise and to not let things build up or linger. Once it is cleared up, it is important to go right back to work and have a positive demeanor. This can be hard sometimes but it is important to model “no hard feelings” to your artist or anyone you are working with. I have also found it essential to know how to be an effective mediator. It has been more than once, when the artist wanted something different than the label. Usually, but not always, the manager takes care of that, but many times I was the one whom the artist asked to represent them, because as a fellow artist and having been on labels myself, they have felt I could “express” their case better.
Being able to communicate clearly avoids misunderstandings and mistakes. I knew a producer who asked his engineer and Pro-Tools guy to do something, and when he realized that he hadn’t done it, he blew up. It was a misunderstanding between all parties. They hadn’t gotten the request right, and made a costly mistake. This could have been avoided by checking in more often and making sure that everyone knew exactly what they were supposed to be doing.
Have a sense of humor and in general keep things fun. Most artists are children in many ways. Tapping into that innocent, unfiltered creativity can usually get the best performance. Plus, it is the “entertainment” business so it is important to keep the fun in the mix.
Seeing it from their side. This is one of the greatest gifts you can give someone and a great quality to develop. Being an artist, I have a lot of empathy for my artist. It is easy for me to understand how they feel and to relate to them.
Don't be the venter. If I simply have to vent about something, I try and save it for my journal or personal friends and family. If it becomes impossible, because the issue is affecting work, I wait for an appropriate time and check to see if the person is open to discuss it. Then let it go! I try and keep it a rule to not talking bad about others no matter what you may feel about that person.
Never let ‘em see you sweat! Artists are sometimes like children. They look to their producer almost as a parent. I know I did! I have parented many artists. Sometimes they need you to just listen and be their friend. Sometimes they need the security of seeing you be in the final decision making position and being very sure of something.
4) What is your musical educational background?
I participated in all the music programs in school that I could. I also learned to play guitar. I think maybe some formal music and business education could be useful for being an artist or a producer. I always like to encourage artists to learn more than one aspect of the business. These days as a producer knowing pro-tools is pretty much a required skill. So learning how to engineer and being a musician are both necessities in today’s producing world. The most important part of being a producer to me is to have a music background. Whether is because you studied at MIT or because you were road musician. No one looks at a producers college resume when they are thinking of using them to produce and album. They look at their credits as a producer and listen to their product.
5) What experiences prepared you for this job?
My whole life prepared me for this job. As far as hands on experiences that prepared me for being a producer being a musician and an artist with a lengthy recording background are at the top. This combination has made me perfect producer in many ways because I completely understand what an artist is going through as your digging in their soul to get the most out of them and on to a recording.
Since music producers are responsible for all stages of production, they usually have quite a bit of music and performance experience themselves. That is part of the job, to be able to communicate to the artist the changes that need to be made to make the song work better from all aspects such as lyrics, music, arranging, layering, vocals, I also need to know what works and what doesn't, so my live performance experience has been indispensable.
As an artist I can’t imagine working with a producer who couldn’t play an instrument or didn’t understand song structure. I did work with a producer once who didn’t sing. It was a very hard session as he tried to talk to me about voice in shades of color. “Try singing it orange”, was just too ethereal for me.
When I need to communicate something vocally to my artist, I just sing it.
Also learning pro-tools while I was still making records and producing myself was invaluable for my future as an artist and a producer. It gave me the freedom to record whenever I wanted with out waiting for a studio, engineer, or watching the clock money wise. At the time I had no idea I was heading towards producing for others. Once I learned pro-tools it just seemed natural. At the same time technically I can get in there and run pro-tools and engineer all while working with the artist in a very intimate way. I don’t need an engineer in the beginning stages when it’s just the artist and me.
6) Besides working with the artists and many other people involved in their career, what are some other crucial areas that you focus on as their producer?
As a music producer I am responsible for all stages of audio development.
Songs are at the top. They have to have great songs! Song analysis and development, song writing and arranging are all a part of that.
Part of my job can also be to make sure emotions stay balanced during the production. An instinct of knowing how hard to push musicians and when to back off and let everything breathe is essential.
Besides focusing on the songs and the artists well being during production most producers will do some or all of the following: studio and session musician booking, actual recording of the songs, budget management, artist promotion.
Here is a link to one of my first podcast interviews! I talk about how to use some of the great new media tools to get your music out there. Hope you find it interesting.
Marcelo Lewin "The Digital Media Dude" is a fantastic interviewer, and has some brilliant insights on using new media. I look forward to learning more from him.
Check out the podcast here at his great site, Pixelheadsnetwork.
I would love to get your feedback on this podcast, and am really looking forward to doing many more, including my own (once I get done producing this great album I am working on, more on this later).
I'm very excited to announce that I will be performing songs from "If I Could Be..." at the XM Kid's Traveling Road Show next weekend in Washington DC! This is a free, family friendly show.
The event will raise funds and awareness for The Children's Miracle Network, an amazing organization that does so much good.
I will get to share the stage with some great artists, including Lisa Loeb, The Jimmies, and Rhythm Child. Rhythm Child is fronted by an amazing artist, Norm Jones, who I am proud to say, performs on "Every Dog" on my latest album.
If you are in the area and can make it, please come by and say hello. It will be a great time, for a great cause.
If you can't make it, tune in to XM Kids for the live broadcast.
Details:
Free Show!
When: Saturday, May 24th
Where: The Sylvan Theater on The National Mall in Washington DC
Also, I just recently discovered that "If I Could Be..." has received a Parent's Choice Award! I'm so proud of this recognition.
Well, I've finally taken this weblog live. I am so excited to have this blog out there. I hope that you all enjoy it and thanks for taking the time to stop by. I would love to get your feedback on these pages, especially since I am brand new to this "blogging thing".
I have to thank David Meerman Scott for all of the inspiration he has given me through his great book, "The New Rules of Marketing & PR" and his great blog, webinknow.com. This book was an unexpected encouragement, and before I read it, I had no idea what a blog even was. The most inspiring part of this book was that, through blogging, I could actually use my authentic voice to speak about what I am most passionate about and connect on a real level with real people. It has been nice to speak without being filtered through all of the usual PR hype that I normally am filtered through. So David Meerman Scott, thank you!
As I said, I am really looking forward to any suggestions and comments any of you out there may have, and thanks again for stopping by.
Meredith
I have just joined Little Kids Rock! and am so proud to be an honorary board member of this great organization that helps thousands of children by providing music programs and instruments to schools across the country. Here's a little piece that I wrote in support of Little Kid's Rock. I've also posted a video from my mentoring program, AMP (Anybody's Mentoring Program). This is some of the footage from my mentoring program at Crenshaw High School in Los Angeles.
Little Kids Rock
When I was a kid my mom worked full time, so I was often left alone after school. Where I grew up, this was a perfect recipe for trouble. One Christmas, my mom bought me a guitar. All of the sudden, I was able to express my feelings and channel my energy into music, which helped build my self esteem and kept me from “looking for something to do”. The gift of that guitar, coupled with a passion for music, probably saved my life.
In working with kids through my mentoring program, A.M.P. (Anybody's Mentoring Program), I have witnessed hundreds of kids who have also been saved through music. A huge problem that I saw while visiting schools, was that many of them no longer had music programs; leaving the kids without an essential part of their growth.
I also witnessed the incredible power of a dedicated music teacher, through an "angel" named Mrs. Stevenson; a choir teacher at a high school in Los Angeles. The kids in this choir learned discipline, creativity, pride, and had an outlet that could influence their future, in so many positive ways.
Music was the reason I was able to remain, and even excel in school. Music gave me my career.
I had a "Mrs. Stevenson" in my life: every child deserves a "Mrs. Stevenson"!
Little Kid's Rock may be that ”angel” to millions of kids who deserve a chance to experience and develop one of the greatest natural gifts available… music and all the amazing benefits it can bring!
- Meredith Brooks
From the second my son was born, everything took on a different shade. Many things became greyer, falling quickly into the background, and some things became more obvious and others, crystal clear.
There were also things that used to seem so important that now felt almost silly to me. To realize I had this little being in my arms, and that I was responsible for guiding his life, was so awe inspiring that words can’t even describe the feeling.
The next year I was completely devoted to this commitment. Mirroring the best of him and imprinting the best of my husband and me. I chose not to work, except a bit here and there. Besides, I was only feeling inspired to be a mother to my son, I really didn’t feel I had any other type of creativity flowing through me. That was pretty scary after being a musician, singer-songwriter my whole life.
There were times I thought “ok now what”? I was this musician for 20 years and now I am a mother. This is who I am now. Will I ever be a musician again? Will I ever even want to be?
Luckily, I know how to trust those long, dry periods where it may seem like nothing is happening artistically. There were a few of “those” calls to friends, who had become mothers before I did, who would remind me of what I already knew, but was having amnesia about.
I was just gestating…..
