Getcha Some Productions Podcast Episode 45
Buy the Book here: Unlocking Creativity by Michael Beinhorn https://amzn.to/3B9f458
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A podcast covering all things related to music production: from the first note to the last fan and everything in between. We create music and inspire others to do the same. Every episode is a live business meeting between me and Dan (me and Keith) as we build this media empire right before your very eyes/ears.
In this episode we discuss:
Justin Wertz is, Once again, the special guest on this episode.
Getcha Some Productions Book Club
Buy the Book here: Unlocking Creativity by Michael Beinhorn https://amzn.to/3B9f458
We discuss Chapter 3 – Preliminary Preproduction
Per our usual process, we read some selected excerpts and discuss.
The gist of this chapter is that Michael Beinhorn has a very lengthy and in-depth process for working with and grooming artists prior to the production of their albums.
To recap, the prep work that is outlined in this book and in the prior chapter of the same name is essentially a list of questions that you would ask an artist at the outset of the production relationship. These are just questions that you would ask the artist or ask yourself when you formally enter the production process of making the record. Prep work is a relationship building phase.
Preliminary pre-production is the stage of the process before recording and before rehearsal of the songs where the actual raw material is honed. It could include actual song writing functions like changing the lyrics, changing the Melody, changing the chords, changing the arrangements. It can also include orchestration ideas and arrangement ideas like which instruments are we thinking of using, which musicians are we thinking of using?
Justin points out that a lot of the work in this chapter is done between the song writer and producer but not the additional band members at this time.
An interesting point came up when we discussed playing the songs for other people. We decided that there is a balance between keeping a song to yourself and letting your creative vision blossom fully and showing it to other people and allowing their presence to affect your critical mind. If you keep it to yourself for too long you may run the risk of creating some thing that really is insane and should only exist in your head. If you play something for someone else to soon, though, their alien presence in the creative process may squash some of the more daring creative choices you’ve made too early and potentially hinder some thing that is truly uniquely beautiful and new to the world. You don’t want to introduce a self-conscious element too early in the song writing process.
This preproduction preliminary pre-production process should end essentially with your preproduction checklist being all checked off.
This book is so easy to read, you could read through the whole thing casually in an afternoon. However, that would do a great disservice to the sheer textbook like volume of information that he provides within the pages. This is a an incredible resource for music producers.
Preliminary pre-production is before rehearsing the songs as a band.
Preliminary pre-production is the first edit. Maybe it’s all the edits.
Part of this chapter is actually a crash course on how to listen to music critically. He lists many questions within the various components of song structure, elements of songwriting and orchestration/arrangement.
Justin has a suggestion that I think will probably do. He says that we should each pick a song, could be one of our songs or could be famous song or something like that, and each go through the questions and see how it fares. And then compare notes.
I told Justin that, when we finish reading this book, we should each go back and produce a song for each other using the process of the book.
Anyway, for my own memory, we did decide to do Justin’s idea and pick one song. I did commit to that so I have to do it. We’re going to do the song component questions on page 33 and 34 I think.
Also, just for the memory banks, Justin and I had discussed making a list or compiling a list or finding a list of all the greatest masterpieces of songwriting.
Justin points out, with respect to the dialogues, that you have to be a counselor or a psychologist in some respects when it comes to dealing with artists. Or, at least, that’s how he portrays his dialogues with the artists.
Justin goes over the dialogues in more detail and talks about the different phrasing the Michael Beinhorn uses to get his point across. It’s an interesting conversation.
We come to the conclusion that while Michael Beinhorn might couch a lot of the messages in a complementary format, he really does not beat around the bush. He will frame things in a complementary fashion but the message is very direct. I think it’s very interesting to reflect upon and I suspect it is revealing or indicative of his professionalism and experience in the Industry.
Link to the systematic creativity course.
https://getchasomeguitar.com/p/systematic-creativity
Links to other projects by Justin. Dirty dude apothecary and blank baby.
https://blankbaby.bandcamp.com
https://www.dirtydudeapothecary.com
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