Record producer

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Posted by r2d2 03/10/2009 @ 07:13

Tags : record producer, music, entertainment

News headlines
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Housing starts rebound; inflation stays in check - The Associated Press
Meanwhile, the Producer Price Index, which measures wholesale prices, rose by a seasonally adjusted 0.2 percent from April, the Labor Department said. That was below analysts' expectations of a 0.6 percent rise. Despite the increase, wholesale prices...
Record-producer dream for young entrepreneur - The Daily Dispatch
By AL WHELESS Wallace Cheek's day job is washing dishes and doing other kitchen chores at Ambassador Inn & Suites, but the 2006 Northern Vance graduate hopes his dreams of being a record producer will soon come true. Aug. 4 is the date the 21-year-old...
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Record producer

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In the music industry, a record producer has many roles, among them controlling the recording sessions, coaching and guiding the musicians, organizing and scheduling production budget and resources, and supervising the recording, mixing and mastering processes. This has been a major function of producers since the inception of sound recording, but in the later half of the 20th century producers also took on a wider entrepreneurial role.

The music producer could, in some cases, be compared to the film director in that the producer's job is to create, shape and mold a piece of music in accordance with their vision for the album. Unlike in film, the music producer is seldom responsible for raising the funds to create the record – more like the film director, the record producer is hired by those who have already obtained funding (typically record or publishing companies, though occasionally the artists themselves).

Freed from this traditional system by the advent of independent commercial studios, the new generation of entrepreneurial producers-- many of whom were former record company employees themselves -- were able to create and occupy a new stratum in the industry, taking on a more direct and complex role in the musical process. This development in music was mirrored in the TV industry by the concurrent development of videotape recording and the consequent emergence of independent TV production companies like Desilu, established by '50s TV superstars Lucille Ball and her then husband. Desi Arnaz.

These producers now typically carried out most or all of these various tasks themselves, including selecting and arranging songs, overseeing sessions (and often engineering the recordings) and even writing the material. Independent music production companies rapidly gained a significant foothold in popular music and soon became the main intermediary between artist and record label, signing new artists to production contracts, producing the recordings and then licensing the finished product to record labels for pressing, promotion and sale. (This was a novel innovation in the popular music field, although a broadly similar system had long been in place in many countries for the production of content for broadcast radio.) The classic example of this transition is renowned British producer George Martin, who worked as a staff producer and A&R manager at EMI for many years, before branching out on his own and becoming a highly successful independent producer.

As a result of these changes, record producers began to exert a strong influence, not only on individual careers, but on the course of popular music. A key example of this is of Phil Spector who defined the gap between Elvis and the Beatles (1958–1964) with such acts as The Ronettes, The Crystals, Darlene Love, The Righteous Brothers and The Paris Sisters. Spector's Wall of Sound production technique also persisted after that time with his select recordings of The Beatles, The Ramones, Leonard Cohen, George Harrison, Dion and Ike and Tina Turner.

Some producers also became de facto recording artists, often creating records with anonymous studio musicians and releasing them under a pseudonym. Examples of this phenomenon include the records by fictional groups The Archies and Josie & The Pussycats, produced by Don Kirshner and Danny Jansen respectively, who were contracted by TV production companies to produce these records to promote the animated children's TV series of the same name. Similarly, Jeff Barry and Andy Kim recorded as The Archies.

In modern digital music, it is possible for the producer to be the only person involved in the creation of a musical recording. The said producer is entirely responsible for writing, performing, recording and arranging the material. The existence of such producers is, in some ways, challenging the role of the traditional recording studio in that feasibly, an entire album can be created and recorded from the producers home studio. .This change has been partially due to the increase of inexpensive yet powerful music production software (such as Ableton Live, ProTools, Digital Performer, Logic, Cubase and Sonar), which allows for entire tracks to be composed, arranged and recorded on a single computer, allowing the roles traditionally carried out by a team of people to be performed by one individual. With the advent of portable recording equipment, live album production has become much more cost-effective than in the past.

With the advent of the computer web applications like Facebook, YouTube and MySpace, record producers can now serve in very non-traditional roles, using "social networking." They can produce music via the internet by having their clients email .mp3 or .wav files to them. In this way the producer can be located in a different geographic location and still accomplish their goal.

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James Guthrie (record producer)

James K.A. Guthrie (b. November 14, 1953 in London) is a British recording engineer and record producer best known for his work with the progressive rock band Pink Floyd, having served as a producer and engineer for the band since 1978. He is also the owner and operator of das boot recording in Lake Tahoe, California.

Guthrie began his career on October 1st, 1973 at Mayfair Studios (in the previous location of 64 South Molton Street) in London, as a trainee tape operator and later assistant engineer. One of his earliest credits is as an assistant engineer on the first two albums by glam rock singer Alvin Stardust. During this time he first worked with Greg Walsh (who would later go on to produce Heaven 17 and Tina Turner among others), whom Guthrie asked to join his FOH production team for the live performances of Pink Floyd's The Wall in 1980 and '81. By 1975 Guthrie was employed as one of the house engineers at Utopia Studios. During his tenure he worked as the engineer on The Bay City Rollers' Wouldn't You Like It? release (produced by studio owner Phil Wainman), and for producer Barry Blue on Breakout by The Dead End Kids as well as the first two albums for London-based R&B band Heatwave (Too Hot To Handle and Central Heating), which would yield the hit singles "Boogie Nights", "Always and Forever" and "The Groove Line". Utopia was also where he first worked with Andy Jackson (Jackson apprenticed as an assistant engineer under Guthrie's supervision), whom Guthrie later introduced to Pink Floyd and was hired as the band's primary engineer (a position Jackson still holds, as the Senior Mastering Engineer for David Gilmour's studio Astoria UK). In addition, Guthrie is also credited with suggesting Jon Carin as a keyboard player for Roger Waters' touring band (making Carin one of a select group of people to have played with both Waters and Gilmour, and an incarnation of Pink Floyd), and arranged for Kashmir lead vocalist Kasper Eistrup to audition for the same tour (as documented in the film Rocket Brothers), as well as introducing vocalist Rachel Brannock (his then-girlfriend, who used the stage name Rachel Fury) to Pink Floyd, she joined the touring band from 1987 to 1989.

Guthrie would later work at other London-area studios such as The Manor, Audio International, Advision, and Britannia Row. His initial producer credit in the mid-seventies would be for the band Fury. Guthrie's connection with GTO Records landed him production duties on the second and third albums for The Movies (Double A and Bullets Through The Barrier); followed by work with Runner (producing their only release, which made the Billboard Top 100). After producing the Judas Priest track "Better By You, Better Than Me" for the album Stained Class, he was selected to produce their follow-up album Hell Bent For Leather (aka Killing Machine).

By 1980, Guthrie's body of work in regards to engineering, mixing, and production would include a total of six hit singles on both the British and American charts: the first three singles from Heatwave, Marshall Hain's "Dancing In The City", Pink Floyd's "Another Brick In The Wall Part II" and The Pointer Sisters' "He's So Shy".

In the summer of 1978, Guthrie received a request from Pink Floyd's manager, Steve O'Rourke, to meet with him regarding potential production projects. First was a pitch to produce singer/songwriter Tom Robinson (and the end result was his production of "Our People", the b-side of the "Bully For You" single in 1979). The other was for Pink Floyd, about to embark on their new project, a concept album which would eventually be titled The Wall. Based on his previous production credits and after meeting with Guthrie, Roger Waters believed he would be a good fit. Guthrie accepted the assignment with the request that he would be allowed to engineer the record himself.

Guthrie was the only member of the production team to be awarded by NARAS for his contributions, receiving the 1980 Grammy award for Best Engineered Recording, Non-Classical.

Guthrie’s initial involvement with Pink Floyd was to last nearly five years; in addition to engineering and co-production duties on The Wall, he also served as the Sound Mixer (supervising the Front of House engineering team) on most of the performances of The Wall live as well as actual recording of some of the performances (he would later provide the mix and production for the release Is There Anybody Out There? The Wall Live 1980-81), as well as Sound Coordinator on the film adaptation Pink Floyd The Wall (he would engineer the music for film as well as produce it in collaboration with Roger Waters and David Gilmour). Guthrie received a British Academy of Film and Television Arts award for Best Film Sound in 1982 for his work on the film, (along with sound editor Eddy Joseph, production mixer Clive Winter, and dubbing mixers Graham Hartstone and Nicholas Le Messurier). He was then asked to co-produce (along with Michael Kamen) The Final Cut, the last release of Waters-era Pink Floyd. According to Andy Jackson, who served as engineer for the recording along with Guthrie, the use of the name "Max" in the songs "The Gunner's Dream" and "Paranoid Eyes" is an appropriation of Guthrie's nickname (the members of the production team - Guthrie, Jackson and Kamen - each had nicknames), which Waters had originally included as a joke, but decided that it suited the overall concept and created an actual character in the narrative with the name.

Guthrie appears in at least three documentaries about Pink Floyd: in The Lost Documentary (filmed in August 1980 and never officially released but was made available in 2004), he is interviewed and receives an onscreen credit as "Sound Mixer". In The Other Side of The Wall (chronicling the making of Pink Floyd The Wall) he appears onscreen during a sequence depicting recording of additional music for the film but is neither credited nor interviewed; and in Retrospective: Looking Back at The Wall (included on the DVD release of Pink Floyd The Wall) he is interviewed and receives an onscreen credit as "Music Producer" in the second half of the documentary. Guthrie also appears in the "Editing and Music" featurette for the DVD release of The Last Mimzy, in a sequence which depicts recording for the Roger Waters song "Hello (I Love You)" but is neither interviewed nor credited; as well as the music video produced for the song. A little-known feature of the Roger Waters DVD release In The Flesh is when the viewer selects the option for "A/V Setup" the menu screen shows a looping film of Guthrie (as well as his assistant Joel Plante) at the recording console inside Le Mobile Remote Recording Studio, used to record the audio for the CD and DVD releases.

In the mid-1980s Guthrie emigrated to the United States, first residing in Los Angeles where he and his business manager/partner Larry Belling owned and operated Slippery Studios, a recording facility specifically geared towards sessions for film. Guthrie eventually settled in Lake Tahoe, California where he designed his own home-based studio, das boot recording (named by a client in tribute to Guthrie's love of WWII-era American submarines). Guthrie and his assistant engineer, Joel Plante, supervise every remastering of the Pink Floyd back catalog, as well as mixing and mastering of various works (some for 5.1 Surround Sound), including Pink Floyd-related releases.

In the 1980s Guthrie would produce a number of other releases, including Heatwave’s fourth album Candles (co-produced with lead singer Johnnie Wilder, Jr.), Queensryche's major-label debut The Warning, Ambrosia's concept album Road Island (the final release of the David Pack era), and three tracks on The Boomtown Rats' In the Long Grass. He would also work as an engineer on various releases, such as Kate Bush's Hounds Of Love and The Dream Academy's Remembrance Days; as well as contributing miscellaneous music and sound design for films such as Lethal Weapon, The Dead Zone and Lifeforce. Guthrie has also produced tracks for Toto and Danish rock band Kashmir, among other artists. Guthrie would also become the engineer who has mixed the most releases utilizing QSound technology, nine in all.

In recent years Guthrie has worked on a number of projects, including an eponymous-named remix of the blink-182 song "I Miss You", mastered releases for Kate Bush and David Gilmour, as well as co-produced the track "Hello (I Love You)" for Roger Waters (which appears on the soundtrack for the film The Last Mimzy) and performed the remastering of the 1984 David Gilmour release About Face and the 40th Anniversary reissue of Pink Floyd’s debut release The Piper at the Gates of Dawn. Guthrie was also part of the Pink Floyd crew for the band's reunion performance at Live 8, assisting with the live video feed mix for television broadcast; and subsequently provided the live mix for Roger Waters' appearance at Live Earth.

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Dan Shea (record producer)

Dan Shea is an American record producer and composer who has worked with numerous artists including Mariah Carey, Celine Dion, Jennifer Lopez, Janet Jackson, Santana, Barbra Streisand, Jessica Simpson. Sara Evans, Rob Thomas, Marc Anthony, Boys II Men, Martina McBride, Kenny G., Ricky Martin, Bono, Mary J. Blige, R. Kelly, Robin Thicke, Toni Braxton, Babyface, Natalie Cole, Phil Collins, Luther Vandross, Michael Bolton, Lady Antebellum, Jim Brickman, Placido Domingo, Grover Washington Jr., Al Jarreau, Kenny Loggins, Dusty Springfield, Daryl Hall, Boney James, New Kids On The Block, Rissi Palmer, Christina Millian, Jordan Pruitt, Thalia, Savage Garden, Clarence Clemons, and more. As producer, composer, and multi-instrumentalist, Dan Shea's albums have sold over 150 million copies worldwide.

Dan Shea was born in Chicago, Ill and is a multi-instrumentalist who plays piano, guitar, bass and drums. He toured with Mariah Carey for several years as keyboardist and has also appeared in numerous television performances and videos, including three Grammy shows, with Carey, Celine Dion, Santana, Jessica Simpson, Boys II Men, and more. After working on a number of high-profile records, Shea was approached by Sony Records CEO Tommy Mottola and signed to both production and publishing deals. He soon began working closely with Motolla and producer Cory Rooney on projects including Jennifer Lopez, Marc Anthony and Jessica Simpson. Shea has also collaborated with other top producers including David Foster, Walter Afanasieff, Rodney Jerkins, Keith Thomas, and Babyface.

Shea has also worked with Smooth Jazz artists including Kenny G., Al Jarreau, Grover Washington Jr., Jim Brickman, and Boney James.

He was also an instrumental part of the "Latin Explosion" in popular music with his production on records by Ricky Martin, Jennifer Lopez, Marc Anthony, and Thalia.

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Source : Wikipedia