State of the Industry:
A trio of leading Producers/Engineers give us the low down on the future of the music biz
Where is the music business heading? How are record labels treating producers and engineers? And how can we get into the action? These and other questions are topics of the day. To find out more about the “State of the Music Industry,” this month we quizzed Jim Kaufman, Jeff Balding and Al Schmitt.
Profile: Jim Kaufman
In addition to playing guitar and keyboards and writing for Opiate For The Masses, LA-based Jim Kaufman has become a formidable record producer. Having produced demos for his band, he worked with Nine Inch Nails’ producer Charlie Clouser and recorded the score for the hot horror film Saw. He engineered Helmet’s 2004 Interscope release Size Matters. He also produced The Black Moods’ Laurel Canyon, Opiate For The Masses’ The Spore, and the band’s forthcoming release Manifesto. Recent sessions include “Disco Mary” by the Hypo Twins, and the score for Josh Eisenstadt’s horror film Dark Ree, plus debut albums for Samuel Markus and The Only Ones.
Profile: Jeff Balding
Nashville-based Jeff Balding recently worked on album sessions with Anne Murray, produced by Phil Ramone at Blackbird Studio;
Reba McEntire, produced by Tony Brown at Starstruck Studio; and George Canyon, produced by George Canyon at Phase One Studio, Toronto. Earlier this year he engineered sessions with Brian McComas, Buddy Jewel, Brooks & Dunn, Clay Walker, Karista Smith and Lindell Cooley.
Profile: Al Schmitt
Industry veteran Al Schmitt has picked up 19 Grammy Awards during his illustrious career. He has worked with a literal Who’s Who? of the business, including Steely Dan, George Benson, Toto, Natalie Cole and Quincy Jones, Toto and Dr. John. He also engineered and produced one of the final recordings of Sam Cooke, Sam Cooke at the Copa. Schmitt's engineering/mixing skills are showcased on over 150 Gold and Platinum albums.
AP: What’s the state of the recording industry today?
”With the rising popularity of home studios,” says Jim Kaufman, “the recording industry is in the midst of a revolution of convenience. Some people blame the home studio for putting major recording studios, engineers and producers out of business. However, I believe that talented producers and engineers make great records, not the gear. An artist’s ability to record something in his or her own home shouldn’t shut down the industry, but instead allow talented producers to shine.”
”We’re definitely in a state of transition,” Jeff Balding agrees. “Technology has been in a quickened state for several years now, and we’re still seeing the ripples from it. Even though it’s brought on some tough times, [technology] has definitely opened up avenues for purity in music.”
Al Schmitt sees a reverse trend: “It's in poor shape,” he considers. “There are now three majors and a few smaller labels. Everyone is worried about the bottom line. We have accountants and attorneys running the labels. What ever happened to the Music Men? I think I can name one - and he's at Blue Note!”
AP: How has the role of the Producer/Engineer changed in the past few years?
“The distinction between producer and engineer has blurred,” Kaufman considers. “I don’t know many producers today that aren’t also engineers. Producers have had to become more hands-on, and engineers have had to find jobs either working freelance or in a home/project studio.”
Balding isn’t so sure. “I don’t know that the role has changed,” he offers, “as much as the mind set of people towards the two crafts. The essentials of the two crafts are basically the same; there are just new tools to use. We’re going to move into a time when the consumer will want more quality than that of an MP3. As that happens, the demands on the craft of engineering will increase.”
“That role has changed quite a bit,” agrees Schmitt. “It used to be that the producer had control of his project. Now [the labels] have committees that listen, and tell the producer what to do. Only a very few producers have control of their projects.”
AP: How has your role changed in the eyes of labels? Other artists?
”My role as a producer hasn’t changed much,” Kaufmann offers, “other than working with smaller budgets. I don’t make records for labels; I make records for artists. Artists have and will always need producers. The decline of label prowess hasn’t affected the artist’s viewpoint of my role.”
“In general I think labels expect us to supply more of the resources to allow them to save money on budgets,” Balding says. “A lot of them expect you to have your own Pro Tools system and your own studio. And they also want it all for the same low price!”
“My role has changed,” Schmitt counters, “because labels have lowered budgets. You have to get permission to change direction once you are in the middle of a project.”
AP: How would you define The Record Industry versus
The Music Industry?
The record industry is a facet of the music industry,” Kaufman reasons. “It’s affected greatly by a lack of record sales. However, artists still need records produced. The record industry itself has become more savvy as far as making small budgets yield big records.”
Schmitt isn’t sure that he has an answer. “Artists now depend on live performances for their revenue,” he considers. “The CD brings people to the show, but artists don't depend on royalties anymore.”
AP: Are their interests in conflict with one another, or fully compatible?
”The end goal is always to produce a successful record for both the producer and the label,” Kaufman reasons. “I wouldn’t say that they are fully compatible, but can evolve together.”
“Probably a little of both,” says Schmitt.
AP: What changes (technological, societal, etc) have had the most positive/most negative impact on your business?
“Pro Tools has had a huge positive effect on my business,” Kaufman insists. “Digidesign has a solid product that allows us to make great records more efficiently and more economically. File sharing has definitely affected all of us greatly [because] it displays a disregard for the process we live by.”
“Technological changes would be the answer for both positive and negative reasons,” agrees Balding. “It has had its role in the downswing of the industry and has opened doors to do new and powerful things that were not available before. So [it’s been] good and bad.”
“Pro Tools is both positive and negative,” Schmitt reflects. “It's a great tool, but albums take longer because of what you can do with Pro Tools. A lot of work that went to the studios is now being done at home. I blame the labels in part because they think they can get things done cheaper. But the cost in quality is much greater.”
AP: What have you done specifically to adapt to these changes?
“I’ve built a home studio,” Kaufman offers, “and am able to produce great records on a next-to-no budget. Most producers are living off royalty checks instead of down payments.”
“For engineers and producers it’s almost a requirement to own your own Pro Tools system,” says Balding, “and even have your own room to work in at their house. Studios owned all the equipment because it was so expensive; you had no choice but to go to the studio to work. Now you can own some sort of set up to record and mix.”
“I haven't changed that much,” Schmitt reasons, “since I get hired because of what I do. The big change for me is Pro Tools - I'm a convert. I use it as a tape machine, but we are able to move and tune in a much faster fashion.”
AP: With the increasing use of project-studio recording capabilities, will Producers become obsolete?
“Never,” states Kaufman. “An artist will need to be critiqued and guided through the writing and recording processes. Producers are here to stay!”
Balding agrees: “Anyone who records and produces a musical project wears that hat. How well they wear that hat may determine whether or not they deserve the title. But nevertheless they still fill those roles.”
“Producers will never become obsolete,” Schmitt says. “I know a lot of producers now think of themselves as engineers because they can work Pro Tools, but ask them where to place a mic and they are lost!”
AP: Will Record Labels become obsolete?
“Record labels will soon be a thing of the past,” Kaufman considers. “Hopefully, the music industry will some day be artist-run. As an artist, I realize that I live more on my merchandise funds than my record sales. With the internet being so convenient for getting product into the hands of the consumer, it will only be a matter of time until artists just do everything themselves.”
“The way we have known [labels] may become very uncommon,” Balding reasons, “but in one form or another you will see something that fulfills some of the needs of the artist. It just may not be recognizable compared to the old model.”
Schmitt agrees: “I don't think that labels will become obsolete; they’ll function in a different way - mostly on-line.”
AP: As royalties are being examined, do you think Producers should also receive better royalty payments?
“As a producer I would have to say: Yes!” Kaufman concludes. “The answer is a resounding Yes!”
“Producers should receive fair royalty compensation for airplay,” argues Balding.
“Producers and engineers should receive a bigger part of the royalty payment,” Schmitt adds.
We also asked our trio to take the Atlas Plugged poll and rate, on a scale from 1-5 (1 being the most important; 5 being the least important) how the following aspects impact the success of a record release:
Mel Lambert has been intimately involved with music production industries on both sides of the Atlantic for more years than he cares to remember. Now principal of Media & Marketing, a Los Angeles-based consulting service for the professional audio industry, he can be reached at mel.lambert@MEDIAandMARKETING.com; +1/818.753-9510.
