You can't get the visual thing on the record as much as you'd like to. We produced this album, and we'd never done that before, except when we produced singles for ourselves.
For a producer, you want to be in L.A. You want to be close to the action, and in L.A. there are always singers, artists, songwriters, collaborators and other producers. It's easy to get access to all that, which gives you more opportunity to work re...
You know, in the days when I started, if you had Chet Atkins' name on your record as a producer and it was on RCA, you could work the road. It didn't have to be a big hit record, it just had to have that on it.
I'm friends with Carla Olsen and she's doing a lot of producing these days. She's getting quite a little collection of records that she's produced. She's real busy.
The only thing they really get to pick is the single. But I get to pick the producer, the songs on the record, the final masters, the artwork. Basically, I hand them a record.
While I used to make my living principally as a record producer, as time went on, I had to depend more and more on my live performances because of the evolution of the record industry, which has de-emphasized what made it possible to make a living.
I want to be remembered as one of the best record producers of my era.
Well, T Bone's had a remarkable career as a producer since the time that we first worked together. He was dividing his time between recording and producing when we first met, and touring. We toured together and we were great friends.
The first album, for better or for worse, was done over from the ages of 17-22, with a couple of different producers. Some of it was recorded in an old swimming pool, some of it was recorded in a synagogue - it kind of was all over the place.
I'm really lucky because I found myself in a position where I can do whatever I want to do. I can make records, produce records, make movies, or I can do nothing. I'm not a slave to the dollar.
I produced the Buckcherry album and I just finished a band called American Pearl on Wind-Up Records. That's Creed's label. They're pretty rocking. Now I'm looking for another band to produce.
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This was during a period when I was producing Brazil '66 records and got infected by Brazilian music.
I often say to people that producing is the best-paid form of cowardice. When you produce things, you almost always get credit if it's a good record, but you hardly ever get the blame if it's not! You don't really take responsibility for your work.
It's a battle between record company, between producer and between mastering engineer. Because the louder you make your record in a digital process, the more dynamics are squished out of it. Nobody knows exactly what happens, but the dynamics in the ...
People have always said that I could have been a highly successful pop artist, if only that were my intention. It never was. My original intention was to be a kind of behind-the-scenes participant in music, to just be a record producer and engineer. ...
It was always important to me that I made a record where I really sang well, and I don't think it's happened yet. There's always a possibility with each album that I might not record again, and I wanted to produce one that I could feel was mine.
My original idea was to produce and not make records myself.
I'm continuing to produce and will start a new record soon, as well.
I love working with producers, like doing the record with Laidback Luke on 'Turbulence' and working with Afrojack on 'No Beef.'
