Being a record producer isn\u2019t just about creating music; it\u2019s about mastery of communication and social cues, and how they influence the musical outcome of a song and the productivity of a recording session. This paper aims to explore the ways in which a record producer can use their interpersonal skills to influence the performance of an artist and the \u2018flow\u2019 or \u2018vibe\u2019 of a session, and what impact this has on the musical outcome of a song and the producer\u2019s ability to keep to time and budget constraints. The primary focus of this paper will be on the psychological relationship between producer and artist, so technical or organisational aspects of record production will not necessarily be covered. I have interviewed six respected industry professionals, including four record producers, to gain a deeper understanding of the role of a producer, and to enrich my research. <\/p>\n\n\n\n
1 \u2013 Emotional Labour <\/strong><\/p>\n\n\n\n \u201c[Emotional labour] requires one to induce or suppress feeling in order to sustain the outward countenance that produces the proper state of mind in others\u201d (Hochschild, 2012, p. 7). <\/p>\n\n\n\n It has been said that record production is a form of emotional labour, in which a producer is expected to perform emotional labour to help \u201creconstruct the recording studio as a space free of the social and feeling rules that otherwise shape our emotional landscape, and allow musicians to produce their desired musical performance\u201d (Watson & Ward, 2013, p. 2904). <\/p>\n\n\n\n The idea of emotional labour and the necessity to create a space free of \u201csocial and feeling rules\u201d are concepts I was introduced to during my time as a studio assistant at a top UK recording studio. My primary duty was to help create and maintain a relaxed and productive environment, use social cues to pre-empt and resolve any potentially problematic situations,\u00a0and remain completely neutral in the face of adversity or controversy. In the studio owner\u2019s words, \u201ca good assistant should keep their eyes and ears open, and their mouth shut\u201d. This wording could be seen as crude, but the underlying principle proved invaluable to me time and time again: evaluate the situation as it unfolds (or preferably before) and plan a suitable response to avoid a \u2018knee jerk\u2019 reaction and interrupt the session.\u00a0<\/p>\n\n\n\n As I became more experienced in my role, I noticed that this philosophy didn\u2019t stop at me. It often extended to the producer, who sometimes had to prevent or resolve conflict, and regularly \u2018kept their mouth shut\u2019 to maintain the status quo. With this in mind, I interviewed critically acclaimed producer, Tony Draper, known for his work with Inglorious and The Justice Collective; Draper believes it\u2019s important to resolve conflict as soon as it arises in the studio. <\/p>\n\n\n\n \u201cIt\u2019s our jobs to create an environment in which musicians feel free to express themselves \u2026 diplomacy is a big part of this \u2013 heading off potential friction at the pass and keeping the sessions moving forward in a positive way.\u201d (T. Draper, 2021). <\/p>\n\n\n\n It is evident that a producer needs a good level of diplomacy to create and maintain an environment suited to musical performance, and Abbey Road Institute also touch upon this in \u2018The Psychological Aspect of Record Producing\u2019: <\/p>\n\n\n\n \u201cIt\u2019s more than just making conversation: listen, pick up underlying needs, contribute where you can. Especially if you notice that someone is annoyed, or is having a bit of trouble, you have to play a bit of a diplomatic game\u201d (Abbey Road Institute, 2018). <\/p>\n\n\n\n To play this \u201cdiplomatic game\u201d it is clear that a record producer must reliably notice social cues, then decipher them and act on them in an appropriate manner. Thus, we could say that a producer should have sufficient levels of emotional intelligence in order to successfully construct the aforementioned \u201cspace free of the social and feeling rules\u201d (Watson & Ward, 2013, p. 2904) and then use this space to help the artist produce their desired performance. <\/p>\n\n\n\n Jay Leahy, a producer who can be heard on records by Joel Corry and Blossoms, illustrated the importance of psychology in a personal interview with me. As Leahy put it: \u201cpsychology is eighty percent of the job, the other twenty percent is technical expertise. You have to be a people person\u201d (J. Leahy, 2021). This implies that a good record producer can use their experience in practical psychology to influence a performance, which leads me to my first research question. <\/p>\n\n\n\n 2 \u2013 How does a producer influence the performance of an artist? <\/strong><\/p>\n\n\n\n \u201cWhen we were recording vocals for \u2018Modern Love\u2019 on Peter Gabriel 1, he wasn\u2019t getting the emotion I was looking for in the chorus \u2026 after numerous attempts at it, I told him he had three more chances and then he was \u2018going up the pillar\u2019 \u2026 there were two stone pillars in the middle of the room \u2026 after two unsuccessful tries I told him he had one more chance \u2026 and of course he failed again, so Brian Christian, the engineer, Jimmy Frank, the assistant engineer, and I came out of the control room with a ladder and two rolls of gaffer\u2019s tape. Brian, who was built like a line-backer, picked Peter up \u2026 while Jimmy got on a ladder and gaffer taped him to it. Once we were sure he was \u2018secure\u2019, we let go of him \u2026 and I said \u2018mic him\u2019. That\u2019s when he sang the version that is on the record\u201d (Massy, 2016, p. 61). <\/p>\n\n\n\n Unusual studio anecdotes, like that told by producer, Bob Ezrin in Sylvia Massy\u2019s book Recording Unhinged <\/em>can be inspiring, but for some people, taping your client to a column could be a step too far! It\u2019s often the smaller interactions that most noticeably influence a performance and contribute to the \u2018vibe\u2019 of a session. <\/p>\n\n\n\n In the same book, Sylvia Massy covers a check list of subtle way to influence a singer\u2019s performance. In her vocal recording sessions, Massy starts by establishing direct communication with the vocalist, \u201coften sitting in the same room with head-phones while recording, so there are no secrets\u201d (Massy, 2016, p. <\/em>57). This is arguably one of the most important steps, as without clear communication, it\u2019s impossible for a producer to effectively understand the perspective of an artist, or tactfully put their ideas forward. <\/p>\n\n\n\n Massy then goes on to discuss how she uses this established line of communication to her advantage, and how she controls certain interactions to help produce the desired musical result. For example, when referencing a particular part of a song to a vocalist, Massy deliberately won\u2019t sing it \u2018well\u2019, to avoid intimidating the vocalist. In her words, \u201cI want an insecure singer to think, \u2018Well, I can do better than that\u2019\u201d (Massy, 2016, p. 57). Producers like Massy often carefully measure their words and control social interactions to help an artist feel comfortable, in-control and confident, as the process of recording can be daunting for some. <\/p>\n\n\n\n In an interview with the Disc Maker\u2019s Blog, producer, Jon Marc Weiss talks about the importance of being comfortable in the studio, and to demonstrate this, he recalls an anecdote from a time he was recording an inexperienced vocalist, with their Dad and their Husband in the studio. <\/p>\n\n\n\n \u201cWe just couldn\u2019t get a good take out of her \u2026 [her Dad] was like, \u2018When you\u2019re in front of your mirror in your bedroom, you do such a good take\u2019 \u2026 So I asked her, \u2018What\u2019s different about when you\u2019re in your room?\u2019 Obviously, she\u2019s in a comfortable environment and she\u2019s relaxed \u2026 so we brought the mirror, the bedside table, and candles from her room \u2026 and it did the trick. She just needed something familiar to make her feel at home.\u201d (Disc Maker\u2019s Blog, 2020). <\/p>\n\n\n\n In this situation, it is very clear that the comfortable environment helped the artist to overcome their nerves and allowed them to deliver a performance that Weiss was satisfied with. The concept of a comfortable environment is one that I was also acquainted to during my time working with record producer, Chris Taylor (known for his work with Blossoms, The Coral and The Sherlocks), who often reminded me that a rug and a lamp are essential to help the artist feel relaxed. This, along with the quote from Weiss, imply that a good producer does not solely rely on verbal cues and communication to manipulate the performance of an artist, but also controls their physical surroundings for the same effect. <\/p>\n\n\n\n In spite of this, it could be said that some songs require an uncomfortable environment to elicit the desired result. This idea is touched upon by Sylvia Massy, in a video uploaded to her YouTube channel: \u201cA producer will open up the mind of the talent \u2026 and in order to do that, you have to make them as comfortable as possible, or as uncomfortable as possible\u201d (Massy, 2015). <\/p>\n\n\n\n To exemplify this, we could refer to the previously mentioned Peter Gabriel anecdote, and consider Gabriel\u2019s discomfort when we hear \u2018Modern Love\u2019 (Gabriel, 1977). In the record, there is an audible desperation and a lack of control in Gabriel\u2019s voice, and a level of inaccuracy that injects a huge amount of character into the track \u2013 arguably separating it from every other track on the album. The song would certainly not sound the same and would probably be much less emotive had Gabriel performed in a more comfortable situation. <\/p>\n\n\n\n The concept of creating an uncomfortable environment may also extend to verbal communication and demands of the producer. Sylvia Massy also discusses this on her YouTube channel: <\/p>\n\n\n\n \u201cOne thing I did with the singer of Tool, to get him to do a better performance, was I had him run around the block \u2026 he was so angry, he really cursed at me as he went outside and ran around the block 5 times, came in and screamed, and that was the scream I wanted\u201d (Massy, 2015). <\/p>\n\n\n\n In this case, Massy wanted an angry vocal take, so her way of ensuring the desired performance was by antagonising the vocalist. As a producer myself, I too have realised that sometimes a performer will require a level of pressure or intensity from me to deliver the best result. But with this in mind, I interviewed Joseph Zbos, a working session drummer with multiple commercial releases under his belt for clients such as Audio Network and The Nerve, and for Zbos, where pressure is concerned there\u2019s a balance to be struck: \u201cIn my opinion [pressure] is very subjective \u2026 some of my best, and some of my worst performances have been while I was under pressure. It all depends on how we let the pressure affect us.\u201d (J. Zbos, 2021). <\/p>\n\n\n\n When in the studio, it is extremely important to know when to \u2018pile on the pressure\u2019 and when it\u2019s more appropriate to step back and provide support \u2013 as misjudging this could have a catastrophic impact on the confidence of the artist and the \u2018flow\u2019 of a recording session. Taking the best course of action based on social cues given by those in the studio is often referred to by producers as \u2018reading the room\u2019. <\/p>\n\n\n\n 3 \u2013 Flow and Vibe <\/strong><\/p>\n\n\n\n \u201cFlow is the state in which people are so involved in an activity that nothing else seems to matter; the experience itself is so enjoyable that people will do it even at great cost, for the sheer sake of doing it.\u201d (Csikszentmihalyi, 1990, n.p) <\/p>\n\n\n\n \u2018Flow\u2019 is a term coined by Mihaly Csikszentmihalyi, and it is often seen by record producers as vital to the success of their sessions. When participants are in a state of flow, the session tends to move at a decent pace; and naturally, some of the best musical ideas occur when the artist and the producer are completely focused and invested in the session. In music production, the term \u2018flow\u2019 is often used alongside the term \u2018vibe\u2019: <\/p>\n\n\n\n \u201cVibe is considered to be a combination of both a relaxed atmosphere and an open and creative relationship between the producer\/engineer and artist, thereby making the process of recording enjoyable, and encouraging musicians and recording artists to give their \u2018best\u2019 performance.\u201d (Watson & Ward, 2013, p. 2911) <\/p>\n\n\n\n In the context of music production, flow denotes the development of a vibe over time, and it revolves around the ability of a producer to maintain the correct vibe by \u201ccreating a relaxed atmosphere, conducive to the process of creating and performing\u201d (Watson & Ward, 2013, p. 2911). To maintain a good vibe and flow, a producer must apply their emotional intelligence to read the room effectively. They should then use the information they\u2019ve gained from this assessment to make deliberate but often subtle changes to their composure, verbal communication or immediate environment to elicit a desired change in the performance of an artist. <\/p>\n\n\n\n 4 \u2013 How does a producer\u2019s use of flow and vibe affect the musical outcome? <\/strong><\/p>\n\n\n\n The work done in the studio can be extremely influential on the musical outcome of a song: parts can be added, key and tempo can be changed, lyrics can be altered and the sonic character of a part is fundamentally changed when recorded and mixed. To demonstrate the impact of flow on the final sound of a song, I interviewed Brad Mack; a UK artist with a European tour and support slots for bands such as Little Comets and BLOXX under his belt. Mack firmly believes that the sound of his new song, \u2018The Change\u2019 was influenced by the flow of the session in which it was recorded: <\/p>\n\n\n\n \u201cIdeas came out of the session that I didn\u2019t go into the studio with, I just went with the flow \u2026 for example, there is a guitar part in the chorus of The Change that just came to me on the day, and it was all a consequence of the vibe in the studio\u201d (B. Mack, 2021). <\/p>\n\n\n\n I am personally familiar with the details of this particular session, as I happened to be the producer, and in my eyes, Mack responded very well to a comfortable and stylishly lit ambience, and a focussed but relaxed demeanour from myself. But most importantly, I allowed him to explore every idea that crossed his mind \u2013 a concept that Tony Draper mentioned in our interview as well: <\/p>\n\n\n\n \u201cAs a producer it\u2019s important I think to recognise that there\u2019s no such thing as an invalid idea, and everybody\u2019s opinion is worth exploring. By saying \u2018hey, let\u2019s try both and see what we think\u2019 then everybody gets their voice heard, their idea tried, and feels significant and cared for as part of the process.\u201d (T. Draper, 2021). <\/p>\n\n\n\n Draper draws on some vital points and shows that if I\u2019d interrupted Brad Mack\u2019s flow by not allowing him the time and space to explore a new guitar part \u2013 the chorus of \u2018The Change\u2019 would be very different. <\/p>\n\n\n\n To expand on this, I interviewed Colin Elliot, a Mercury nominated producer from Sheffield, known for his work with Richard Hawley, Kylie Minogue and Paul Weller. Elliot recalled a specific moment from a session with artist, John Reilly that shaped the outcome of\u00a0the final record: \u201cThere\u2019s one song I did recently, and I programmed an accidental drum fill \u2026 [it was] totally wrong and \u2026 we tried to fix it but said \u2018ah actually, we miss it now\u2019 so it stayed there.\u201d (C. Elliot, 2021).\u00a0<\/p>\n\n\n\n This shows that moments which occur in the creative flow of a session, no matter how incidental, can be very influential and beneficial to the final sound of the record. So, as a record producer, it\u2019s very important to encourage these moments and allow the \u2018flow\u2019 and \u2018vibe\u2019 of a session to cause new and unique results that could not have been planned. <\/p>\n\n\n\n 5 \u2013 How does a producer\u2019s use of flow and vibe help them keep to time and budget constraints? <\/strong><\/p>\n\n\n\n When an artist is let loose in the studio, they can produce very unique and endearing moments that shape the sound of the record. But equally, if an artist becomes side tracked by their ideas, it is the producer\u2019s job to step in and ensure they don\u2019t waste precious studio time. Tony Draper, Jay Leahy and Ben Claughan all mentioned this in their interviews with me, and as Draper put it: <\/p>\n\n\n\n \u201cWhen a stalemate situation arises, it\u2019s important for everybody to be working with an established hierarchy. That way, decisions can be made that are final and everyone can move on \u2013 and I think that\u2019s why a producer is an important part of the process. If they have the final say, then everybody can move on.\u201d (T. Draper, 2021). <\/p>\n\n\n\n It is important to keep on time and budget, because a rise in streaming and a fall in physical sales means that record labels can\u2019t afford any unnecessary costs. In my interview with Jay Leahy, he talked about the drastic change in production methods in our modern era: <\/p>\n\n\n\n \u201cMost modern productions are done mostly at home on a laptop before coming into the studio \u2026 it\u2019s a stark contrast from the methods used by record producers of bygone eras \u2026 recording sessions are mostly spent doing the actual recording rather than making song writing or arrangement decisions.\u201d (J. Leahy, 2021). <\/p>\n\n\n\n With less time to do the same amount of work, a modern producer should be smart about how they use studio time, and realistic with the work they expect to get done in the studio. But, when a producer is in the studio, every second counts, so adopting a good flow and keeping the session moving at a reasonable pace is essential. Colin Elliot is known for using flow to capture good performances, while simultaneously reducing any unproductive pressure on the performer: <\/p>\n\n\n\n \u201cYou can say \u2026 \u2018let\u2019s see if the Neumann suits your voice\u2019 \u2026 [let\u2019s] see what kind of mix you like in your headphones\u2019 \u2026 I might say to, \u2018just go and do it once through\u2019 you know, and they\u2019ll do it once through and I\u2019ll say, \u2018that\u2019s really good, can we just do a couple more\u2019. They don\u2019t question why, and then we\u2019ve got three takes and I comp them.\u201d (C. Elliot, 2021). <\/p>\n\n\n\n An experienced record producer like Elliot can seemingly shape the natural flow of his sessions to capture a good performance sooner rather than later, and for Elliot flow obviously helps to accomplish all goals in a timely and cost effective manner, while simultaneously coaxing a high quality performance from the artist. <\/p>\n\n\n\n 6 \u2013 Conclusion <\/strong><\/p>\n\n\n\n A record producer is clearly hired for their musical stamp, but a good producer is evidently much more than just a creative force; they are also hired on their ability to get a song over the line, on time and on budget. In order to do that, a producer must have highly tuned interpersonal skills and a mastery of communication, as the way in which they mediate the interactions around them and control the \u2018vibe\u2019 and \u2018flow\u2019 of a session has a massive impact on the sonic characteristics of a recording, and can bring a unique and spontaneous sound to a song. <\/p>\n\n\n\n Being a record producer obviously requires a high level of technical, organisational and musical skill, but it is clearly not the primary function of the job. To conclude this paper, I asked Tony Draper what makes a good record producer, to which he replied: \u201cCommunication, perseverance, understanding, empathy, listening skills. That\u2019s above everything. The technical comes later but if you can build that rapport with artists and <\/p>\n\n\n\n understand their vision, then you\u2019re far more likely to make records that resonate.\u201d (T. Draper, 2021). <\/p>\n\n\n\n 7 \u2013 Bibliography <\/strong><\/p>\n\n\n\n Abbey Road Institute. (2018). The Psychological Aspect of Record Making. Abbey Road Institute. https:\/\/abbeyroadinstitute.nl\/blog\/the-psychology-of-recording\/ <\/a>;<\/p>\n\n\n\n C. Elliot, personal communication, March 23, 2021 <\/p>\n\n\n\n Cooper, D. (2017). How To Support Artists Who Suffer With Red Light Fever When Recording. Pro Tools Expert. ;<\/p>\n\n\n\n Csikszentmihalyi, M. (1990). Flow: The Psychology of Optimal Experience<\/em>. CreateSpace Independent Publishing Platform. <\/p>\n\n\n\n Disc Makers Blog. <\/em>(2020, April 16). Psychology and The Music Producer. https:\/\/blog.discmakers.com\/2020\/04\/psychology-and-the-music-producer-2\/ <\/a>;<\/p>\n\n\n\n Hochschild, A. (2012). The Managed Heart: Commercialization of Human Feeling. <\/em>University Of California Press. https:\/\/www.jstor.org\/stable\/10.1525\/j.ctt1pn9bk <\/a>;<\/p>\n\n\n\n J. Leahy, personal communication, March 20, 2021. <\/p>\n\n\n\n