How to get a producer

Finding a Producer: Insights for Young Artists

I think a lot of people think it's more difficult than it is to find a producer. Many, particularly young artists, see producers as being very detached from where they are at the moment. But every producer is looking for a great artist to work with.

The Search for Talent

• They're not always really busy or going to turn things away.
• We're all seeking talented individuals to collaborate with, so it's always worth approaching producers.

Where to Start

The MPG Music Producers Guild website is a good place to start because:

• It has a directory of producers.
• You can filter by genre or specific needs.

You could also reach out to management agencies or record labels.

The Importance of Credits

It's a shame that there isn't enough credit for digital information, a cause many organizations are fighting for. When I was young, physical copies allowed you to look at the producers behind your favorite bands and to contact them.

Contacting Producers Today

Now, contacting people is really easy! You can simply Google them and their contact details often appear through forms.

• Different people have varied ideas of what is needed next.
• For me, I'm happy for people to reach out. Just type in "Andrew Hunt" and "record producer" to find me.

Communication Preferences

I prefer if artists send me links instead of files because files can clog up my servers.

Common Misconception: A lot of young artists believe they should finish their record before sending it to a producer.

I often hear:

"I haven't got anything ready yet; it's too rough."

It doesn't matter. I don't care if it's recorded on a Dictaphone with just a guitar or clapping your hands.

Essential Elements in Songwriting

I prefer when an artist doesn't try to finish the song too much. What I want to hear are:

• The melody line
• The song structure
• The chord structure
• Any key elements important to them

As long as those elements are in the song, I'm happy.

What I Look For

1. Personality & Talent:

   • I look for a combination of both.
   • It doesn't matter how talented someone is; if we don't click or respond well to each other's feedback, it's not going to work.

2. Working Relationship:

   • If we have a good personality match, that's my priority.
   • I can nurture talent and help them improve.

3. Raw Talent:

   • Is the artist a good singer? Are their songs well-written?
   • These aspects are my next priorities.

The Importance of Flexibility

If they're a good singer with a nice tone but need coaching, and we haven't developed a solid relationship, it's challenging. Similarly, if the material is decent but requires tweaks and they are unwilling to adapt, it can create conflict.

The Role of an Observer

It's my job to observe and suggest improvements:

• "Look, we can get this another 10% better."
• "This part doesn't flow well."

If the artist has the right personality, this process becomes much easier.

Professionalism vs. Talent

Professionalism is massively important, but it has to balance with talent.

• I've encountered exceptionally talented individuals facing struggles like mental health issues, dyslexia, or dyspraxia.
• I would much rather work with a talented person than an untalented but completely professional one.

However, there are those who think their talent permits unprofessional behavior, which is simply not the case.

Essential Professional Traits

• You must turn up on time; it's everyone's time and often someone's money.
• These habits should be established early in your career.

You've got to be prepared and ready to perform.

Ultimately, these aspects should never impair creativity and talent. I will always make allowances for outstanding creativity, but that should never become an excuse.