RECORDING
Jeff Dalziel is a multi-platinum, award-winning Canadian record producer, Sony/ATV songwriter, and musician. He was
named Producer of the Year in 2018 and 2019 by both the CCMA and CMAO. Jeff has produced and co-written music for
labels and artists including: Warner Music Canada, Sony Music Canada, Slaight Music, Wax, Open Road, Coalition Music,
Arts & Crafts, The Washboard Union, Dan Davidson, Chris Labelle, Nice Horse, The Abrams, Ryan Langdon, River Town
Saints, Alee, Andrew Hyatt, Aaron Allen, David Boyd Janes, Jessica Mitchell, Alyssa Reid, Tom Wilson, Jim Cuddy, Edwin,
Prozzak, Lights, Thornley, Prty H3ro, Swollen Members, and many more.
By Jeff Dalziel
Budding Artist Seeks
Successful Producer
(To Trust or Not to Trust?)
Are you 100% confident that you’re
actually looking for a producer?
First off, let’s look at the titles we
have for one another and a little
breakdown of those titles, relative to the creation
of music:
Artist(s): Individuals who create art, singularly
or collectively.
Producer(s): Individuals that help artists create
a product, singularly or collectively. (The separate
title for the producer is a bit of a misnomer
because production itself is an art form. We
use the same mediums as the artist and we’re
tasked with creating a commercially viable final
product based on the artist’s creative vision – a
creative vision that is often rather blurry. Many
producers, as is the case with me, were active
artists prior to taking on this role.)
Audio Engineer(s): Individuals who capture
and record performances by skillfully selecting,
positioning, and operating recording equipment
such as microphones, preamps, etc. A
very big part of their job is to help the producer
and artist realize their vision of the sonic soundscape.
(Engineering is an art form as well.)
These definitions are brief but, at the core,
accurate.
Art, in any form, is expression. It’s created
primarily because the artist has a vision
and needs to see it to fruition. Upon its
completion, even if it’s only the artist who is
moved by the result, the art has accomplished
its intent: it created a reaction. If the
finished art emotionally moves people other
than the artist, positively or negatively, even
better. Technically, however, the amount of
people it does or doesn’t move is irrelevant;
in fact, everyone, including the artist, could
hate it – also a reaction.
Do You Need a Producer?
The first question an artist needs to reflect on is:
“How many people do I want to move?”
Of course, the number of people exposed
to your art depends on how accessible it is. This
in turn will determine how popular the art can
become. Once the artist has decided on the
popularity they’d be comfortable with, the
closer they are to determining what type of
producer they need, if any at all.
If the artist just wants to continue to create
art as merely a hobby, or just for the sake
of creating, a producer isn’t really required; in
fact, unless you’re comfortable and completely
open to collaborating with another person
throughout the creative process, it could be
frustrating and even impossible for you to incorporate
someone else’s vision.
If the artist determines that they want their
art to reach more people but aren’t looking to
be pop stars or commercially successful on a
huge scale, but rather to appeal to a certain demographic
(i.e. death metal kazoo ensemble),
then a producer with success in that style could
be a great benefit. If so, do some research and
find someone that has produced things similar
to your vision. That way, you’ll find someone
that will use their skills to challenge you to get
you to the level you desire but will also keep you
honest to yourself and to your goals.
Another great option, if you are resistant
or hesitant about creative collaboration and
compromise, might be to instead hire a great
engineer – someone who can really help you
zero in on the graduation of your product
on a sonic level and without changing your
musical ideas.
Yes? So Now What?
If the artist wants a product that will hopefully
get them on the world stage competing
with well-known stars, then they most likely
will need a producer – generally one with
a proven track record.
If a producer is what you desire, in any
capacity, you must be ready to trust this person.
This can be very difficult for artists and I
completely understand. I personally approach
every project with this in mind and do everything
I can to show them they’ve made a good
choice and that they’re safe. All of my successful
producer friends share this same quality.
But at the end of the day, it will say “Produced
by Producer X.” This makes it clear, to the
public and to potential clients, who produced
your final product, so they’ll be the one to take
the blame if things don’t work out. It’s important
to understand and respect this, as it can be a
difficult place for any producer to be if they are
fought throughout the entire creative process.
When trying to produce uniquely viable
music, I need to address and possibly fix or
challenge the songs, arrangements, lyrics, and
performances, but the art is not the only thing
I have to focus on. With me comes years of
understanding of what your investor’s hopes
are, how radio playlists are determined, and
how to fit your genius into the box everyone
is waiting to receive.
In fact, I can safely say that I’m never looking
to be right or looking to prove the artist wrong;
I’m trying to help us make the art rightly suited
to our motives. I take my responsibilities to the
artist and their invested team members very
seriously and I want all parties to be happy with
the final product. I do everything I can to help
the art reach a level that is competitive without
compromising the artist’s integrity or happiness.
It’s not always easy, but my production
methods, developed through years of successes
and also failures, have served my clients well.
If you don’t trust your producer, then you
probably didn’t really want or need one, or you
didn’t research enough before choosing and
hired the wrong one.
If you choose wisely and trust completely,
your producer can and will take you to the
next level.
CANADIAN MUSICIAN 59