Why hire a Music Producer

Those under 30-35 years old may not have noticed it but for all other artists, songwriters, performers, the difference between the musical world of today and that of years ago is evident.

Today I am 48 years old, I started making music professionally in 1993.

In those years it worked like this: There were record companies that, for investments made in new artists, received revenue from the sale of records. Very simple.

Today this is no longer the case, records are now a memory and the economic benefits derived from listening to Spotify are not at all sufficient to guarantee an investment.

And then the music is over?

NO

On the contrary, it is very alive

Music is almost completely in the hands of artists and fortunately or not, this is a trend that in my opinion will last for a long time to come.
An artist, unlike a label, benefits from many more fronts, first of all from live shows (a sector that is not the responsibility of a record label).

Of course, investments on each single song, video or album have been drastically reduced.
Years ago you needed a lot more money than today to start a musical career.

Today, a singer-songwriter can create his own music in complete autonomy, make arrangements on the computer, mix them and sing them.

So where is my job? Am I still of any use?

Maybe yes and I notice it every day in the dozens of artists I work with every year in this very particular moment.

Today the figure of the producer is much more similar to that of a coach.

As I wrote at the beginning, years ago there was a record company, the process that led to the creation and release of an album was viewed and revised by a team of professionals, artistic directors, promotion offices, producers, arrangers, authors.
Today that team no longer exists and the artist is increasingly isolated from an objective vision of his work.

Every artist thinks he is strong, his belief is what drives him to continue (despite the difficulties), but it often clouds an objective vision of what he really has in hand. Here, a producer, unlike a recording studio, is for this purpose.

If he works with criteria and professionalism (and I don’t take this for granted) it should serve this purpose as well as creating a sound and improving the aesthetics of the work.

It is the last bastion of a system that has worked very well for decades.

Personally, I follow the works from start to finish, I know the artists with whom I collaborate very well and in most cases a sincere, human relationship also arises.
Productions often last months, and all that time together gives me and them the opportunity to improve.

So where is my job? Am I still of any use?

Maybe yes and I notice it every day in the dozens of artists I work with every year in this very particular moment.

Today the figure of the producer is much more similar to that of a coach.

As I wrote at the beginning, years ago there was a record company, the process that led to the creation and release of an album was viewed and revised by a team of professionals, artistic directors, promotion offices, producers, arrangers, authors.
Today that team no longer exists and the artist is increasingly isolated from an objective vision of his work.

Every artist thinks he is strong, his belief is what drives him to continue (despite the difficulties), but it often clouds an objective vision of what he really has in hand. Here, a producer, unlike a recording studio, is for this purpose.

If he works with criteria and professionalism (and I don’t take this for granted) it should serve this purpose as well as creating a sound and improving the aesthetics of the work.

It is the last bastion of a system that has worked very well for decades.

Personally, I follow the works from start to finish, I know the artists with whom I collaborate very well and in most cases a sincere, human relationship also arises.
Productions often last months, and all that time together gives me and them the opportunity to improve.

I’m not one of those who distorts the artist to make him look like me, I grew up with the school of great songwriters and I was lucky enough to work with the best Italian producers and artists and I don’t have problems with an unexpressed ego.

The real challenge for me is to give light to whoever is in front of me, this is my job and this is the job of the music producer.