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Rick Rubin par radošā direktora lomu
Oct 22

Rick Rubin par radošā direktora lomu

Viens pēdējā ceturtdaļgadsimta leģendārākajiem, veiksmīgākiem un kolorītākajiem mūzkas producentiem Rick Rubin plašā intervijā stāsta par mūzikas producenta lomu mūsdienās. Pāris vārdus izmainot, vairākas no atbildēm ārkārtīgi precīzi raksturo arī laba (izcila) radošā direktora lomu mūsdienīgā radošajā uzņēmumā. Tikai divas atbildes no intervijas.

One of most successful producers of last quarter of century Rick Rubin talks about role and qualities of great producer. Change few words and it turns into great story about the role of Creative Director in a great agency. Just two quotes from interview by Annabel Mehran

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Photography ROBBIE RIMMANO, via Interviewmagazine.com

ANNABEL MEHRAN – Explain to me in simple terms what it means to be a producer.

RICK RUBIN – Well, different people do it differently. So I can only discuss it in general terms. It’s the equivalent of being a movie director. You’re responsible for the material. Now, you don’t write the material, but you’re responsible for what’s chosen to be presented. You cast the people involved and then you try and get the best performances from those people. You have the unifying vision of the project and you know how it’ll work. Now, in some cases, the artist is very strong and so the role will be different from what it is with, say, a newer artist.It’s different with every artist. I mean, some artists don’t write their own songs, and so the producer’s job is also to the find the songs. Some artists do write the songs, but if they’re not good enough then the producer’s job is to tell them they’re not good enough and to help them do whatever it takes for them to be good enough. So, the first step is getting the material. Once the material exists, it’s about how it’s going to be recorded, and about getting the best performances from the musicians. Then it’s about presenting it all up, with a nice bow tied around it. Producers come from different backgrounds and their backgrounds usually determine the kind of producers they are. For example, some producers are also engineers, which is in itself a very different job from that of a producer — it’s a technical job, working with equipment. But it’s not uncommon for an engineer to graduate to becoming a producer. I was never an engineer. Sometimes a guitar player or a drummer or a singer will become a producer — they’ll come at it from an artist’s perspective. Sometimes a writer will do it from a writer’s perspective.

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ANNABEL MEHRAN – What’s the most difficult thing you have to deal with in the studio? Is it issues with the musicians — like maybe their sense of timing and tempo, or their confidence levels? Or is it more technical issues, now that the technology of recording is so complex?

RICK RUBIN – Overcoming bad work habits artists have developed over the years is probably the most difficult aspect of it. It takes a lot of hard work and a lot of homework to write great songs. It takes great discipline and few artists have the natural inclination to do the kind of solitary work that’s necessary.  Communication between the band members is another problem area. Often the relationships between the members are unhealthy and the issues that stem from this limit productive collaboration.

  • pieZZīmes

    Komunikācija・Stratēģiskā plānošana・Stratēģija・Mārketings・Reklāma・Dizains・Mediji・Sociālās platformas・Digitālais laikmets
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