When I’m considering working with a new artist, I sometimes suggest that we do one song together first to see whether the relationship works. So in this spirit, last month I had a singer-songwriter come by the house. There was something in this woman’s writing and voice that resonated with me, and that I thought I could contribute something positive to.

She came over and played me a bunch of songs, and we picked one to start with. What I typically do next is to demo up some production ideas in the computer, to get the conversation started. But before that, it’s important for me to get a sense of what the artist is hearing in their head production-wise. Especially when an artist has started a song with just an acoustic guitar, it could go in any one of a dozen directions.

So I had her play me some inspiration tracks in Spotify. I had been hearing a Beth Orton sort of thing for her material; she played me Meiko and Lucy Rose. Which, if you think about it, are pretty compatible vision-wise with my Beth Orton idea: a tightly produced balance of acoustic instruments, electronic instruments, and drum programming.

So based on that, I got started on a production template. I did an acoustic drum kit and upright bass in the verses, and then brought in some drum machines and synth bass to make a dark scene change into the choruses. Then I had the artist over to start fleshing it out.

And she hated it. Hated it! She had a viscerally negative reaction, specifically to the drum machines and synthesizers. Which, of course, were directly cued from her inspiration tracks. So I probed on that point, asking whether it was the parts the electronic instruments were doing, or perhaps the sounds I’d chosen. But no, it was the very fact of their existence. “My sound is folky-jazzy,” she said by way of explanation.

Huh.

I have two thoughts here. The first one is that this artist did exactly the right thing, in that moment. If you’re an artist, and you’re working with a producer, you have to be your own best advocate. If something is happening that isn’t resonating with your vision of who you are, then it’s critically important that you speak up. Only through your fastidious curation will you end up with a record that’s the best possible representation of who you are.

My second thought is that this artist could probably have communicated way better with her inspiration tracks, which turned out to be highly misleading. It turned out that what she liked about those tracks was that the acoustic guitar was front and center, and that both singers were husky altos like her. Which is a very different story than the one I’d been ostensibly presented with, given that I specifically had asked to hear songs whose production and sound she found inspiring.

Collaboration is challenging, and fraught with the potential for misunderstanding. Therefore it’s extra important to be as clear as possible with your communication as you enter into a new creative relationship. Get your expectations and hopes clear with yourself before bringing them to someone else, communicate them unambiguously, and you’ll get started off on the right foot.

{ originally published at Pyragraph }

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Full disclosure: I have an adventurous and wide-ranging sonic palate, as a producer and also as a listener. It’s probably a product of when I grew up. Every song on the radio when I was a kid sounded pretty wildly different from every other song. This was thrilling to ten-year-old me; I spent hundreds of hours transfixed in front of the radio, wondering exactly how each otherworldly combination of sounds had been achieved. It was mind-blowing. Every song – and, by extension, every artist – had a distinct and unique personality, as expressed via its sonic imprint.

That’s a bit of context for today’s observation: I see a phenomenon constantly with up-and-coming artists, wherein they are very concerned with emulating very precisely a particular style or sound or textural palette (or, worst of all, a specific artist). I think a lot of really talented songwriters are doing themselves a huge disservice by taking this approach, and so I want to use my space today to encourage songwriters to embrace a spirit of sonic adventuresomeness, both in their live show and, particularly, in their recordings. Here’s why:

If other people are achieving success with a certain sound, that means that you have less chance of succeeding with that same sound, not more.

I was at a party a couple weeks ago, and I found myself sitting in a group of 5 female singer-songwriters. This can happen in LA. Anyway, I went around and asked everyone what their sound was. Every answer was some variation on “acoustic something or other.”

And you know what? Most likely none of their recordings will be listened to by anyone outside of their small core group of supporters, because a) they’re all making similar-sounding recordings, which b) are going to sound like a bunch of other recordings that are already in the marketplace. Tons of people are making acoustic-based recordings right now; acoustic-based music has been really popular for the last few years. Which means that the marketplace is becoming saturated with recordings that all have essentially the same sound.

This observation is by no means limited to acoustic music. There will always be a market for acoustic music. The point is that when you go to a show and all four artists sound basically the same, they’re cannibalizing each other’s markets. Why would I buy each artist’s EP, if they all sound basically the same? Maybe it’s just me, but I’m always looking for the thing that sets itself apart from the pack. I don’t need a record that sounds like another record I already own.

Or, to put it another way: if an artist says to me “My sound is like Matt Nathanson,” my first thought is, “Oh, I should listen to that new Matt Nathanson record!” Because why would I want to listen to a cheap knockoff of an already-popular artist, when I could just go straight to the source?

Or to put it yet another way: the world doesn’t need another Matt Nathanson. The world already has Matt Nathanson. What the world needs is your unique voice.

I was working with a band last year, and we went through this interesting period where they were trying to insist that they wanted some very specific EDM production flourishes in their recordings – drops and so on – because “that’s what’s on the radio right now.” And I understand the impulse. But if something’s on the radio right now, here’s the thing: it’s already yesterday’s news. Audiences don’t want more of the same – they want what’s next. As an artist, you want to be like a wide receiver. You don’t want to be where the ball is now; you want to be where the ball is going to be. If you’re making a record right now, it will be 3 months minimum before those recordings hits the streets, right? Potentially much longer. And by then all those of-the-moment sounds that you put in your recording will sound badly behind the times. And you don’t want to sound dated, do you?

Also, industry doesn’t want more of what it’s already got. No one at a record label is going to sign someone who sounds exactly like an artist they already have – because they already have the original, and they don’t want to cannibalize their profits.

If you’re thinking of your career like a small business – and you should be – you should be constantly thinking about how to differentiate yourself in a crowded marketplace. What makes your music stand out? A good song isn’t enough. Everyone has a good song or two. What’s going to make people prick up their ears? What’s going to call attention to what you’re doing?

So that’s my thought for today: I want to encourage you to figure out a way to differentiate yourself sonically in the marketplace. Get a new guitar pedal and figure out a new dimension to your personal sonic landscape. Hell, get a drum machine. There aren’t any rules! Experiment with some synthesizer sounds in GarageBand. Listen to some dub. Expand your horizons. Making electronic music? Experiment with some acoustic textures. It goes both ways. The point is to push your boundaries. Make something interesting and forward-looking and unique.

You probably have a couple of fantastic songs that deserve to be heard on a wider basis – but if your recordings sound the same as a thousand others, they’re not going to stand out. And you want to stand out. Right?

{ originally published at Pyragraph }

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