[EDIT: Quick clarification… This is not about ghost producing.]
Perhaps I’m not fully understanding how the collabs work here, but I’ll put this out there anyway…
Why I wrote this post
My stuff lacks production style. I believe my musical strengths are not in production. My strengths (if I have any) are perhaps more in the writing and musicality.
My self-produced stuff is produced quite ‘straight’ and simple – not in a good way. (It’s not ‘a sound’ I’m aiming for. It’s a lack of ability to understand what it ‘needs’ production-wise.)
It’s partly why I label so much stuff as ‘sketches’. Without the touch of good production, my tracks feel far from complete (including those which aren’t called sketches).
As mentioned elsewhere, I feel like I need to work with an engineer with production ideas. Someone who’s not going to ‘re-interpret’ the track, but ‘add something’. Tweak here, add FX there, chop up the beat here… a high-pass sweep there… run that whole section through a low-pass filter… add a strange sound to the intro. That sorta thing. I dunno.
I wonder if, generally speaking, there were music makers here who would…
…like to produce someone else’s track (not a remix, not a ‘collab’ in the usual sense)
…like to have their track produced by someone else
Interesting? Thoughts, comments, offers and requests…
Ghost producing is better discussed as a private matter. You don’t want to announce in public that you’re ghost producing or requesting to have ghost producers because a lot of people hate the idea of it for many reasons. The main one is that it is not your work so people may consider it as plagiarism.
People mainly use ghost producers for mastering and the ghost producers are paid one time for helping with the track and that is it. In Auxy, there is no need for something like this due to the functionalities in mastering and mixing that are done for you. The main need would be as you mentioned, the SFX, low and high pass, and volume.
No one should ever feel like they need their tracks to be ghost produced. All of your tracks are awesome @akabillposters!
If you do feel like your track needs to be ghost produced, look at a few tutorials in this thread and these should help you out a bit.
Mastering, a form of audio post production, is the process of preparing and transferring recorded audio from a source containing the final mix to a data storage medium (the master); the source from which all copies will be produced (via methods such as pressing, duplication or replication). In recent years digital masters have become usual although analog masters, such as audio tapes, are still being used by the manufacturing industry, notably by a few engineers who have chosen to specialize in analog mastering.
Mastering requires critical listening; however, software tools exist to facilitate the process. Results still depend upon the approach taken by the engineer, the accuracy of studio monitors, and the listening environment. Mastering engineers may also need to apply corrective equalization, dynamic range compression, and stereo reconfiguration processes in order to optimise sound for all playback systems.
When musicians can’t keep up with demand for new music, they will employ secondary writers or producers to create and write the music for them. This can be a completely fresh idea, or a song created in a certain idea considering the ghost producer’s ability. The artist pays the ghost producer for their work, and the music becomes theirs for whatever purpose they decide. Much of this is done behind closed doors, and fans usually don’t notice. This practice differs from traditional writers or producers on a team for a song, because they are actually credited for their work and ghost producers are not.
In the EDM scene, a well known producer would create their own music in the studio, and traditionally perform it by DJing through festivals or concerts. However, ghost producers have become an increasing problem, and not everything is as straightforward as it used to be. Now, so called producers are buying finished tracks, and releasing it through record labels as if they made it. At this point, the “artist” is not involved in any aspect of a song’s production, but is there to only take credit. Much of this came to light after Danny Avila paved his way to fame, but was discovered to be ghost produced by Maarten Vorwerk.
Bigroom, a genre of electronic music, quickly became popular after Martin Garrix’s release of “Animals” in 2013. Ever since then, many producers and ghost producers have been cashing in on this genre, mass producing songs on a quest for fame and recognition. Spinnin’ Records, is currently very involved with this method, and is home to many producers, real and fake alike.
I’m not familiar with the ‘ghost producing’ thing, so… question…
What’s the difference between a producer and a ghost producer?
When you hear that ‘artist X’ works with the ‘best producers’ – I assume they don’t mean sound engineers, so what’s that then? I’m talking about someone who can contribute production ideas, production ‘special sauce’, so to speak.
They work with songwriters and artists to help craft the final sound. No?
I wasn’t suggesting people write the track for them. (Not sure where that interpretation comes from, tbh.
Thanks, that’s a thread I started and most of the links are ones I posted.
Y’know, imo, you don’t need to be a complete musician to be a good musician.
I don’t really ever want to be the sound engineer or the producer. I’m happy being the writer who comes up with the track ideas, the composition, the hooks, the general sound - effectively ‘the song’.
I just feel there’s a role for a contributor to add ideas and flourishes to help craft the sound.
That doesn’t make it the producer’s track, as the core concept, composition, hook, etc… still originated from the writer.
I’m confused by this reaction and why some people don’t seem to understand what a producer is/does.
I’m just enough of a control-freak to not go for that (at the moment).
I want to remain the ‘owner/creator’, who gets to say yes/no to any ideas put forward for one of my tracks.
(I have no problem with people having producer credits – or possibly even co-writer credits, if the contribution substantially shifts/creates ‘the sound’ of the finished track [think nrgb’s Butch Vig/Nirvana reference.)
The thing for me is, when I hear some of the highly stylised tracks created by some here, with a tonne of production flourishes that really add layers of interest to a track, I am impressed and excited — as a listener — by the production imagination.
But, those details are neither a strength of mine or something I want to personally build up skills on for my own tracks. (At least, I currently feel that it’s not something I want to personally get better at.)
I’m happiest creating and working up the main musical concept, writing the body of the track the hook, etc… and giving it its main production form.
Not an enticing offer for someone to become part of a duo, but then only gets to add the ‘curious twiddly bits’ after the song’s been written, composed and mostly produced. That’s why writer-artists work with producers.
Possibly by way of contrast — and for clarification — think of the role of producers in hip-hop.
Or Quincy Jones’ role in Michael Jackson’s Thriller.