, Ritch Ezra's A&R Registry and a chance to perform at a songwriter showcase that will be filmed and presented as a documentary to MTV and VH1.
Following the critiques, attendees and panelists alike hung around to support fellow artists at the songwriter showcase featuring up-and-coming artists Rachel Owen, Tehran, Ronna Jones
and the JohnAdam Band. Performers were selected by LAMP reps from bios and MP3 links submitted. There was also an expo of products and services especially selected to benefit songwriters.
Overall, the event provided an excellent educational and networking opportunity for all.
Following are some of the questions asked of the panel and the answers offered. Good food for thought.
(Views stated by the panelists were their own and do not reflect those of Los Angeles Music Productions.)
Avalon: Give an example of what makes an artist stand out from the crowd. What makes them compelling enough for you to take notice?
Representing Rap/Hip Hop, Dave Aron
noted budget as a prime factor based on the artists he's worked with to date, 'Budget gives you an idea of how far you can go with a recording to
meet both the artist's vision as well as the label's expectation.' He added, he looked for an artist's ability to market himself or herself as well; 'People will buy what they see and hear.'
Carlos Warwick focused on for that 'fire in the artist's eyes' and prefers working with musicians that have a good knowledge of music theory. Joe Warwick added confidence as being integral
as well, 'If they don't believe in themselves, why should you?'
Pop/R&B engineer, Michael C. Ross and Rock/Alternative producers Robin Danar and Rogers Masson
sited the quality of the songs and the artist's vocals, their live performance – did they excite the audience. Said Ross, 'I like to know whether my favorite song on their demo
was the song the crowd reacted to most.' Danar added, 'Artists need to understand and want to understand what they're dealing with in the industry.' Masson wanted to see an artist's drive,
'I look to see if they're making money, hustling and willing to work.'
Pop/R&B producer Keith Cohen and engineer/producer Matt Forger wanted inspired artists.
Cohen said he prefers working with motivated songwriters, 'Artists that aren't going to sit around.' Forger hones in on the emotional component of both the songs and the artist that
creates them; connecting with the spirit of their music at a gut level and whether the artist exudes 'a charisma that can't be defined'.
Country/Acoustic/Folk producer Pete Anderson
provided the most colorful responses throughout. 'Most people making records today have no talent. When people ask me what's
the best thing that has happened to music I answer Pro Tools. When they as me what's the worst thing that's happened to music I answer Pro Tools. Too many people think that with
computer software and knowledge they are songwriters/musicians. That's not usually the case.' He added that the songs were most important.
Panelists agreed the artist's personality and dedication to his career – what the artist is able and willing to do for themselves. Further, that an artist's business knowledge, marketing and
networking abilities added to his willingness to work with them.
Avalon: What would make you take a project on spec?
Said, Forger, 'at some level the person will exude a quality where you just know they have a
future; they're going to be around a while. And they have the potential for career repeatability.
They essentially have to have their craft down.' Aron sited bands like Sublime; 'If the artist/band has a "scene" and a following, that makes them special.' Masson said, 'Talent first and
foremost, and what they're able to do on their own.'
Avalon: How do you bring out the best in your artists (from creative techniques to gear)?
The panel agreed they don't want to have to motivate the artists they work with too much. Artists need to come to the studio hungry and ready to work. Several sited vocals as an issue
where they might need to work with the artist to get their best performance recorded. All agreed that usually the best take was the first take. When artists focus too much on how they are
performing, the true essence of their vocal ability can be hindered. Forger records from beginning to end as does Danar in order to capture the best takes when they happen.
Anderson has found having an artist re-sing scratch vocals for future instrumental tracks has netted some of the most relaxed and best performances from his artists. There's no pressure.
Avalon: From a creative point of view, how much authority can a producer have? Who are you really working for?
Aron said, and panelists agreed, 'You work for yourself to make the best recording possible.'
Forger offered a challenge to the panel responding, 'The person who signs the check.' He added, 'Ideally, you serve the music which is more important than the budget. The artist is the
one you are working with and, depending on the situation, usually signs the check.' Aron gave an example to Forger's reply, 'With Prince, you made him happy because he was always
fighting with the label. Celine Dion was the one working her project, not the label, so you made her happy.
Ross' point of view came from the beginning of the relationship. 'Even though a label is paying you most of the time, you must agree with the artist and see eye-to-eye with them or it really
isn't a good match to begin with and you shouldn't be working together.'
Avalon: What if you disagree with the artist and the label is paying your fee? What if you
need to replace a member of a band?
Each panelist said they approach each situation cautiously. Cohen opts to stay out of the
situation and let the artist and label decide. Ross cautioned, 'you need to be careful. It's a fine
line.' Aron noted that sometimes you can get around the situation and not offend anyone while still getting the best recording possible. He uses 'cuts and punches' substituting, as
necessary, a better musician for the parts of the instrumentation that don't work, rather than struggling with the artist. Danar responded, 'you need to address the issue otherwise you're
not doing your job.'
Avalon: How can I save money recording a CD?
'Most of the saving is done outside the studio before you go in,' said Danar, adding, 'Mixing as
you go along in Pro Tools is beneficial as well.'
All of the panelists agreed that preproduction; working out structure and arrangement ahead of
time and establishing a trust factor with your artist saves the most money. Masson cautioned that the affordability and availability of Pro Tools creates the opportunity for artist and producer
to NOT make decisions. That isn't good because artists ultimately go into the studio too soon. He favored tape as an ideal way to save money. 'It forces you to make decisions. With limited
resources you're going to be able to force yourself and the person you're working with to make those decisions.'
Avalon: How good does a demo have to be? (How important is the production quality?)
Anderson looks for the raw essence of a song, 'Basic guitar and vocals, melody and words lets
you know if there's a song and talent there or not.'
Rap/Hip Hop/R&B Mixer/Engineer Joe Warlick had a different take: 'Today, technology is so
good, it's best to focus on the best recording possible.' Mixer/Engineer, and brother, Carlos on
the other hand feels 'performance and the artist's fire' need to shine through the demo. Cohen agreed with Joe, 'Demos need to sound good,' adding 'if you don't hear a hit in the demo, there
may be none.'
The panel agreed that artists should stay true to their vision for their own music and not try to fit
a preconception of what they think A&R might be looking for. Said Aron, 'When you're talking about A&R, 99.9% of the time they don't know what they're talking about. I don't know anyone
at that level who's said anything intelligent to me about music.'
Avalon also asked the panel if they'd brought any before and after examples of the recordings
they'd worked on. Forger brought a rare selection from the Michael Jackson "Thriller Special Edition" CD. Pete Anderson shared a before and after track from local artist Sherri Stanlynn.
Both examples provided a definite insight into the benefits of working with an engineer and producer that share the artist's vision for their music.
The following Q&A came from the audience:
Avalon: How much of a demo do you listen to before making an assessment?
'I realize in most cases, I'm there to trim the fat, but if the demo is compelling, I'll keep
listening,' said Masson. Anderson urged artists to focus on putting their best efforts up front so the producer/engineer knows where the song is intending to go, 'Three songs, your very best.
Verse, chorus.' Ross added, 'Short intro, four bars and hook. Get to the song as soon as possible.'
Avalon: If you're a songwriter, not an artist, looking to sell your songs how important is a producer?
Masson suggested songwriters not looking to perform their own work to 'Hook up with an artist that fits your vision and try and make it happen as a team.' Avalon said there was no need for a
producer. Anderson urged artists not to spend a lot of money on production. The basic song, guitars and vocals, was all that was needed.
Avalon: How much of an obligation do your feel to get your artists signed?
Forger urged that when interviewing a producer, 'Get the facts up front. There are producers
who act as hired guns and actively shopping to labels. Others don't.' Forger also suggested phone calls and emails regarding label submission policies will enable artists to approach the
labels more efficiently. Masson said an artist should be willing to shop themselves; be committed and persistent. 'And if a label doesn't like what you're offering, go get another opinion.'
Avalon: What if your hit is inconsistent with the rest of your material?
Masson urged artists not to hold back for the sake of keeping your work consistent. If you have
a great song, put it out there. Aron on the other hand suggested if an artist has a hit song they should writer more songs like the hit song.
Avalon: Where is the state of the industry heading?
Carlos Warwick shook his head and replied, 'Labels are signing untalented artists.' Other
panelists nodded their heads in agreement, noting too much politic and big corporation handling of the industry.
Avalon: What about the web?
Masson said the web has been helpful in providing him the ability to get reference mixes sent to clients. He said it 'Anyway you can, get your songs out there'. Danar noted that the ability to
transfer files allowed him to work long distance and there was lots to get from the web to help an artist stay driven and keep learning.
Avalon: How do you get a demo to the industry and a deal?
Said Masson, 'Find something unique that you have/do and magnify it. Find interesting sounds
that are not too close to your influences; build your songs; smack them in the face with something really obvious.'
Q&A continued well after stage lights were dimmed as attendees and panelists mingled over yummy burgers and salads from the Knitting Factory kitchen. Kudos to KF manager, Aidan
Demerest, and his crew for helping make the event a success. A good day well spent -- looking forward to the next LAMP event.
By Gabrielle Hewson
