Cruise some of the main audio production forums and you may come across some similar issues revolving around the client/engineer relationship from time to time. Every once in awhile you will see a poster ask a group of strangers, “if the engineer they are working with should have approached their album in an A, B, or C fashion.” Another type of question that appears on these forums is along the lines of, “is it normal for an engineer to do the following on their album…?” A third example revolves around a poster explaining to the forum that “they are unhappy with the final result of their recording for X, Y, or Z reason, what should they do?” One has to wonder why these questions (generally speaking) are being directed to a faceless public and not to the engineer the client is working with. Does the musician working with their engineer fear confrontation? Has the engineer created an environment where they seem to call the shots, even though they are the ones hired to provide a service? Does the client feel that they lack knowledge in record production and therefore feel more comfortable anonymously expressing their concerns, as opposed to discussing their doubts with the engineer they hired? Whatever the scenario, the underlying issue is a communication problem.
Communication is a two way street where the groundwork is laid before the musician employs the engineer. Assuming the prospective client researched their production options, the next step should be a discussion where the prospect addresses the following:
What is the engineer’s record making philosophy/what is their record making process?
How is a typical session run?
The potential client explains their process and their experience with recording.
The potential client explains their realistic goals and expectations to the engineer.
If the prospect is passing material on from one engineer to another, for example recording engineer to mix engineer, the prospect should make sure all members of their production team have each other’s contact information. The prospect and previously involved engineers should discuss what aspects of the material they are happy with, what goals they have for the material in the next step of the process, and if there are any issues with the material at hand that need to be addressed by the engineer the prospect is looking to hire.
On the other side of the shared street, an engineer who has been contacted by a potential client needs to be proactive in setting up an environment where a musician feels comfortable to openly share their thoughts, opinions, and concerns. This can be done by establishing the following:
1. Asking their future client what their realistic goals and expectations are and explaining to the prospect how these goals can be achieved, or if an expectation reaches too far.
2. The engineer should discuss their record making philosophy and explain the way they approach a job.
3. Asking/discovering what the prospect’s experience is with the engineer’s part of the recording process and clarifying what their job entails if the potential client seems unclear.
4. Breaking down how a typical session runs.
5. Engaging the prospect in a face to face, phone, or video conversation when possible, or carefully laid out e-mails when not possible.
6. If hired, obtaining the contact information of the whole production team and establishing a line of communication with them.
If the musician feels comfortable with conversational exchange between themselves and the engineer they have reached out to, and understand the parameters of their future working relationship, they should now be able to trust in contracting the individual to help them achieve their vision. Whether personal, or work oriented, all relationships require maintenance to stay healthy. Both client and engineer need to be reasonably available to one another throughout the production. Any doubts, questions, or concerns should be immediately addressed and not left to fester. Conversations about the project should take place within the established production team, as they are intimately familiar with and deeply invested in the record. Those outside of the project cannot possibly know all of the details to get a clear picture of the production, and their opinions could lead a person astray.
If the client feels that something is amiss, they should have a calm and direct (non-written) conversation with their engineer. An engineer should be able to listen to issues with open ears and open mind in order to assist their client in the appropriate manner needed. It should also be highlighted that sometimes a person may be on an overactive lookout for production issues, overlooking the positive successes that have been achieved. Both client and engineer should underscore the triumphs of the production. Infusing positivity into the production uplifts everyone involved and fuels both the client and the engineer in their day to day work. This creates an atmosphere that is driving force, as opposed to one that grinds. So long as everyone involved in the production team (this includes the client) keeps their egos in check, properly presents and openly receives constructive criticism, and stresses the successful elements of the production, while solving problems that can realistically be corrected, the client should receive a finish product that fulfills their aspirations.