Producers stand often in the shadows of the artists. Although they lay the foundation of the song, for some reason, they never get the same amount of credit as the artist. I’ve written a piece before, talking about how much I appreciate producers myself, simply for the fact that the first thing I listen to from a song, is the music, the beat, the melody, the harmony. Its not until after I like what I hear music-wise, that I actually start paying attention to what’s being said in the song. Through the music.
We are living in the internet era. People download music or buy their music from iTunes. Nine out of ten times, the producer’s credits are not as well mentioned through this channel, as they are in the booklets that came with the physical product. I like reading booklets. Seeing out of what components a song is built. Seeing who added value to a song, production-wise, vocally, instrumentally, all that.
I come across so many producers, struggling to get value for their music. Not so much “respect” or “love” or even “compliments”. But when it comes down to it, a lot of artists want the music for free or as cheap as possible, not really valuing the addition to their own art enough, to gladly pay for it. After all, when your song becomes a success, it’s not just because of your part. Not just because you are a dope songwriter. The music speaks for itself. If you loved it enough to get inspired to write to it, why not appreciate the producer? Maybe because in this digital era, it’s a lot easier for people to “become a producer”, therefore causing over-saturation of the market, thus lowering prices for production?
J. Rawls (Lone Catalysts) points out his concern about this, yet doesn’t necessarily think it’s a bad thing: “Nowadays everyone seems to be putting out music, which makes it tough to get your music heard. Even someone with my experience can get drowned out because the market is so saturated. However, it is a good thing that people are creative and the ease of making beats now has made it so that everybody can produce. It’s not a bad thing, but it does make it harder for the public to be able to keep up.”
Domino (Hieroglyphics) agrees with it not necessarily being a bad thing as he states: “I believe it’s good that more people have easier access to recording devices in the digital age. Certainly it gives a platform for many who may not be ready or deserve it, but it also forges opportunities for some who have the talent but previously wouldn’t have had the tools to be heard. In my book exposing these gems is a worthwhile exchange.”
I definitely agree with Domino on the gems. With these tools, its more likely to discover a talent you may not have known about otherwise and discovering creative talent in an art form such as producing, is “music to my ears” (literally in this case as well). But it also appears that good music is now becoming some sort of fast moving consumer good, as 14KT (producer) adds the relevance and time aspect when it comes to putting music out, in regards to the value of the product. “Many fans and consumers are multimedia consumers, so when they cop an album, it seems more like a preference at the moment. Some buy vinyl and buy CD’s, but most of them download, listen, and check for new music digitally. The digital era has sped up the demand and quantity of music from artists. For artists to feel they are staying “relevant”, they have to consistently release material, so they’re listeners won’t forget them.”
Creativity also seems to become more of a struggle with the above mentioned over-saturation, as J.Rawls admits that “keeping it fresh” is one of his biggest struggles as well, especially if you have been doing this for years. Posdnous (De La Soul) approaches the lack of creativity from a more technical point of view, as well as pointing out the talent-factor. “Production can appear very empty soundwise, because the modern producer makes music that works on headphones opposed to large speakers and since there are always updates to the tools we use, as well as just new programs, a lot of producers don’t master the one program they have due to moving on to the next. Everyone having tools to produce still doesn’t outweigh the fact you need talent and a large level of creativity to make these tools do something the other person with the same tools can’t or won’t do but it has made it easier for someone to just upload their work to the world at large opposed to certain filtering that existed back then.”
The “empty sound” that Pos is speaking of, is something that I hear more often myself as well. Like I said before, I am a production gal. I also love live music, bands, instruments. With certain digital tools and music maker software, none of that comes into play anymore. It makes it easier for people to press a button, instead of actually recording playing a live instrument, for the production. “Making (or creating) Music” gets a whole different definition when we think about this.
Domino (Hieroglyphics): “The main issue I have with the relative ease of recording via digital means is, too many artists are satisfied with you emailing a track and recording their parts without you ever being present. This takes away the value of a true producer, someone who you can add and exchange ideas with and who can bring the best out of your performance. I’ve always felt my strength was not just in making a track but adding to the concept and idea of a song. Not being a participant in half of the creative process certainly reduces that value.”
Rakaa Iriscience (Dilated Peoples) says the same thing and puts into perspective the difference between a producer and a beat maker. “I’ve come across quite a few beat makers, some very talented at that art and craft, but I’ve only met a handful of actual Producers. In most styles of music (outside of Hip Hop and the different flavors of electronic), there is a trusted and / or respected person that comes in as an objective ear and voice to make sure that the band is in sync with one another and with the vocalist. I am not saying that we need that exact approach, but I feel that we need to respect the role of a Producer as something independent of making the beat if we want the music of this culture to continue to evolve. Beat makers should learn to produce or be willing to bring in someone else for that purpose. MC’s and record labels know this too, which is why certain people are repeatedly called to resurrect careers or build bridges to new markets. These are people that do make dope beats, but the fact that they have the vision to see the potential in something and the technical and communication skills to make it happen is much more valuable right now.”
Scrapdirty (manager of producer Young RJ) also addresses the difference between a producer and a beat maker. He also points out that the same has been happening to DJ’s, with the coming of Serato. “Managing one of the top underground producers, it seems like the past 8 years established producers are underrated & the simple producer is overrated. You have a producer & then you have a beat maker. A producer makes his own sounds & may call in someone to play strings or drums on a record. A beat maker will throw a few sounds on a track keep it moving without a thought. That’s the way the production game is watered down now.”
DJ SoulClap (producer) agrees with Rakaa on the working together aspect. As Rakaa stated that one should be willing to bring other people in, in order to create the valuable sound, SoulClap feels that producers should help each other more in every way, instead of sticking to self because of fear of competition.
On top of that, not only is there the aspect of adding value to the music-making process as mentioned before by Domino and Rakaa, there is also the study of music that adds to the value of the producer himself/herself. 14KT: “It’s crazy because many don’t have any type of musical background, they just stumbled upon a software program and launched a career. What bothers me is the fact that now everyone thinks it’s so EASY to make music. I am a firm believer that studying music theory, being able to play or understand instrumentation, and developing expertise on recording, mixing, and engineering is VITAL to success as a producer. Regardless of how “easy” it is to create music, those are the ones that will have longevity, evoke change, and have a lasting effect on their generation of music.”
As a producer, being a creative person, you don’t want to put out your hard work, your creativity and originality, just to get robbed from it. It’s easy nowadays to connect through the internet and put beats online, hoping your name will get out there or you will sell your beats through the internet because its easier for them to be heard that way. This points out another danger for producers when it comes to their art as Dae One (producer) says that its great to be accessible and be heard by many through the internet, you have to beware of getting robbed from your art through music-ripping programs for YouTube and such.
As one of the solutions of not getting snowed under by millions of “home-producers” due to the music maker software and tools that are out now, Erick Sermon (EPMD) points out the importance of having your own crew and support system. “As we know the music industry has changed a lot. Some would say for the worst. Its true that producers come a dime a dozen now cuz its so easy to make a beat due to the technology that is available for anyone to become a producer. Artist no longer has to call for a brand name producer cuz so many people make beats so the can get hot shit online for cheap and own it. Plus a lot of crews are click-ish now so they stay within the camp. This makes it hard for producers who really know their craft to get any work. All I can say is if wanna succeed in this new error find your own group so you can put your sound through and promote hard on the web so that people hear u make sure its dope and new and that might give u lite over all the fake shit that’s out that’s what worked for me. I had my own crew so I didn’t have to go looking for work. I was hot so work came to me.”
Most producers and industry people that gave me their thoughts on the digital age in regards to their art, are not so much against the easy beat makers with the coming of software and tools, but moreso against the loss of value of the music itself. The fact that producing is no longer seen as a true form of art that requires the proper knowledge, study of music and creating of real music. They all admitted that this age brings a particular type of struggle for them, but they are confident enough in their own talent and creativity, to know they are the ones that have longevity. Because that is really what it is about in the end (as 14KT also pointed out). Same goes for rappers and singers. A quick buck for a one hit wonder, is just that. Real music however, is known forever. Producers stand equally with talented artists in this digital age. As long as both of them are respected and valued, there will always be appreciation for their art. At least by genuine music lovers, such as myself.
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