Effect of "Name" Credits

A former producer with an A list of clients has offered to mix our new album. (He's into mixing now.) We haven't talked price but it will be more than I have right now, so serious fundraising could be ahead.

We've also got a shot at getting the work mastered by a multiple Grammy winner. Again, not cheap.

You may know the former producer's name...the mastering engineer is inside baseball, but folks in the biz will know.

Yes, the CD will sound fantastic. We'd like to get whatever passes for airplay nowadays, play out regularly, etc., but we're a bit old to be rock stars. The goal is to sell songs for other artists to record. (Works in Progress (http://soundcloud.com/e-christina-herr))

Will the names of the production people get it listened to by people who matter? I'm not necessarily looking for advice, just opinions and discussion.

It can help to have the album mixed by someone with cred. Mastering won't matter as far as cred goes, but it will make it sound better.:grin:

It's a good thing to have a different set of ears (someone from outside the band) mix. If he has good credits, trust him. I can't wait to hear what it sounds like. One of the things about your rough mixes that has always bugged me is the VOX are always too hot and sound like they're lying on top of the backing tracks instead of being comfortably resting in what I call "the nest". The VOX are the egg.:cool:

One opinion: It really depends on your goals — If you're looking to take it to the Next Level and everybody's free to do road work and you can get your CD on the radio, a Name might help your upwardly striving. Beyond that, it really depends on how well the dude can work with you, and your satisfaction in his treatment of the band. ... How are the preliminary negotiations going, if ya don't mind my asking?

The goal is sell songs to other performers for a living...and get enough cred to play regionally. I'm wondering if this connection would be enough to cut through the clutter.

There's no doubt in my mind that his mix will be better than mine. And of course we want the best sounding music possible. We're just trying to decide if it will be worth the cost.

As for negotiations, he's heard our work so far and will mix for us. I'm waiting for my tax refund before we talk money.

One idea is to have him do just a few of the songs on the album...the ones we think have the most potential. Again, depends on the cost.

One idea is to have him do just a few of the songs on the album...the ones we think have the most potential. Again, depends on the cost.

Maybe consider an EP for him to mix and you do the others?

Maybe consider an EP for him to mix and you do the others?

Good idea, maybe some "handmade" copies. The cost of packaging two CD's will cost too much, though.

If you could sit in on his mixes and get an idea of his approach, you could apply similar techniques to your own mixes. The last time I did this with a pro mixer, it was like a graduate-level class — I learned things it would've taken me years to figure out on my own, if ever!

If you could sit in on his mixes and get an idea of his approach, you could apply similar techniques to your own mixes.

I hope that happens. He seems nice enough.

If you could sit in on his mixes and get an idea of his approach, you could apply similar techniques to your own mixes. The last time I did this with a pro mixer, it was like a graduate-level class — I learned things it would've taken me years to figure out on my own, if ever!

You should always sit in on the mixing sessions regardless, mastering as well if you can. There are a lot of choices to be made in the mix that the engineer shouldn't be left to make on his own, no matter how good and experienced.

You should always sit in on the mixing sessions regardless, mastering as well if you can. There are a lot of choices to be made in the mix that the engineer shouldn't be left to make on his own, no matter how good and experienced.

Yes indeed! I've always sat in on the mixes my bands have done over the years, but my observations were generally subjective. Since I got into the home recording/production racket, I've only gotten a pro mix on one project ... but that time my observations were much more objective, since I sorta knew what was going on, and I was able to apply those lessons to my own work. Soaking it up like a sponge!

If your selling/licensing songs, especially for film or TV, it really won't matter IMHO. The only time it may help is if you have a Name either playing on it or co-writing it with you. In the end it's all about the song and nothing else.

I'll give you this too... by having a name mixer, producer and the song is only average, it can work against you. Hence, the shiny turd concept. Publishers and music supervisors can see right through it.

My advice, which has been passed on to me by many seasoned pros before me, is get the songs the best they can be first, get it played as well as they can be to represent it, and if by chance you have a great studio and gear to work with, then that's an added bonus not a requirement.

Good luck with it!

If your selling/licensing songs, especially for film or TV, it really won't matter IMHO.

That would be great, but I don't know that the songs are that "universal", (unless it's a rodeo show (http://soundcloud.com/e-christina-herr/headin-for-a-wreck-041612) or a hoarder series (http://soundcloud.com/e-christina-herr/queen-of-stuff-032412).)

We've talked to some TV producers and it seems like a crap shoot. You know way more of what's involved than I.

As for the "polished turd"...we either believe in the songs or we don't. But if nobody hears them we may as well be a tree falling in the woods.