I did a record with a producer, and the good producers eat up the budget, so I didn't have any budget left to produce this record. I had to produce it myself.
I'm a record producer and songwriter; I'm a problem-solver.
I'm just a musician and a record producer.
The record producer is the music world's equivalent of a film director.
Immediately after the Floyd experience, I became a pop record producer.
I produced Run DMC. I produced some early records, lots of records early on.
Originally a record producer more or less hired a bunch of professionals to participate in a recording session, the performers and the technicians, and a music director was put in charge. That directly related to a film producer's job.
I produce the records. I don't hand over control to some really expensive producer who then talks to the record company and then tries to bend me to their will - for commercial purposes.
I was like a wonder kid at Uptown. The first record I produced sold two million copies - and I'd only produced it because the producer didn't show up.
At that time, I was signed to Columbia Records as an Independent Producer. I spent many weeks forming, auditioning, rehearsing and recording demos for Kenny, who was finally signed to Columbia Records.
I started a recording studio. I started producing people and doing remixes.
But I really am very active in the choice of the line producer with the producer of record and the distributing company, because I've had some terrible, terrible experiences with some line producers, particularly in cable.
I like home recordings and studio recordings just as much as each other - I don't think one is better - but for this record I wanted to see what I could do in a real studio with real producers.
I like to make records sound good. I'm more like a reducer than a producer. If an artist cannot produce themselves, what's the point?
I also have a recording studio that I use to produce bands.
I've had a couple of guys that I've had co-produce records with me through my career, and it's fun to work with a co-producer.
It's funny - some producers ask me, 'Man, how do you work on a Bieber record? That would kill my career.' I can work on any record there is as long as they are good records and you're pushing things forward.
I got out of high school, bought a recording studio and started operating it as an engineer and a producer.
I've recorded 25 or 30 albums. I know that sometimes when you work with producers who are kinda dictators, it doesn't help you make a better record.
The thing is that I have a really intense, almost compulsive need to record. But it doesn't end there, because what I record is somehow transformed into a creative thing. There is a continuity. Recording is the beginning of a conceptual production. I...
Have I learned something from making records? Yeah, I've learned a lot, because I've not only made eleven of my own records, I've also probably produced that many records for other artists, and then I've probably played on, or been a large part of an...
