Syllabus

Lesson 1: Record Production

• Four Basic Responsibilities of the Professional Record Maker
• Production vs. Engineering: The Division of Labor
• The Project: Recording a Three-Song Master/Theory Behind an Extended Play (EP)
• Choosing an Artist and Getting the Gig
• Assignment 1: Reflecting on Your One-Song Master

Lesson 2: Budget and Schedule

• Producer Responsibility #1: Budget and Schedule
• Creating a Schedule for your 12 Week, Three-Song Project
• Be Realistic: Anticipating Possible Pitfalls in Your Progress
• Assignment 2: Submit a Schedule/Budget and Possible Artist/Music Choices

Lesson 3: Shaping the Music

• Producer Responsibility #2: Shape the Music
• The Three Elements Heard by an Average Listener
• Producing a Song for the Average Listener
• Genre
• Assignment 3: Artistic Vision for Your Project 

Lesson 4: The Songs

• Choosing Songs, and the Ingredients of a “Hit Record”
• Three-Song EP: A-side, B-side, and “Wild Card”
• The Producer as “Arbiter of Taste” and Other Concepts
• Some Stories Behind Hit Songs
• Assignment 4: Submit Rough Demos

Lesson 5: Pre-Production Techniques

• Goals for a Successful Pre-Production
• Pre-Production Checklist
• Creating a Blueprint for Each Song With a Lyric Sheet
• Demo to Master Illustrations
• Assignment 5: Submit Finished Three-Song Demo and Lyric Sheets

Lesson 6: Supervising Performances in the Studio

• Producer Responsibility #3: Obtain the Best Performances 
• Production Approaches: A Brief Historical Overview 
• Define Your Recording Aesthetic 
• Strategies for Recording Basic Tracks
• What is a Finished Basic? Judging “Feel”
• Principles of Creating an Effective Rough Mix
• How to Make a Good Rough Mix
• Assignment 6: Submit a Rough Mix of Your Basic Session

Lesson 7: Work vs. Play

• Producer Responsibility #4: Work vs. Play
• Embracing Chance: Brian Eno’s “Oblique Strategies”
• Strategies for Coaxing Uninhibited Performances from Musicians and Singers
• Tips for Vocal Performance and Editing
• Compiling a Vocal
• Assignment 7: Submit a Rough of Your Tracks with Finished Lead Vocals

Lesson 8: Managing the Artist

• Producer as Psychologist 
• Who Has the “Final Say”? Your Role as Leader 
• Good Ideas vs. Bad Ideas: Who Decides? 
• Ideas For Parts That Have Nothing To Do With The Song 
• Needless Percussion 
• "Overdub Hell" 
• Trying to Imitate Other Records 
• So once again we need to ask: Who Decides? 
• The Wit and Wisdom of Jim Dickinson 
• Different Producer Styles 
• Assignment 8: Submit Rough Mixes

Lesson 9: Arrangement Techniques

• Vocal and Background Vocal Harmonies 
• Close Harmony 
• Lead Singer Sings Harmony 
• High Falsetto Harmonies 
• Melodyne Generated Harmonies 
• Principles of Stacking Vocals 
• Electric Guitar Tones and Techniques 
• The Joy of Low-Wattage Amplifiers 
• Digital Amp Modeling vs. Micing Amplifiers 
• Background Drones 
• Invisible Keyboards 
• Deciding When The Track Is Complete
• Assignment 9: Rough Mixes Before Final Edit

Lesson 10: Preparing for the Mix and Final Edits

• Organizing your Tracks 
• Quantity is Quality? 
• Stereo 
• Plug-Ins 
• Two Professionals Join the Discussion 
• Paul Kolderie 
• More Organizational Strategies and Thoughts on Mixing
• Assignment 10: Rough Mixes with Mix Session Forms

Lesson 11: Mix Strategies

• General Principles of a Good Mix 
• The 80/20 Rule 
• Good Mixes 
• The Best Lead Vocal Level 
• Some Thoughts on Compression 
• Enrique Gonzalez-Mull
• Mix Pros Weigh In
• Assignment 11: Submit Final Mixes

Lesson 12: The Finished Record

• Sequencing and Mastering
• Learning from Experience
• Becoming a Professional 
• Quotations From Chairman Eno 
• Assignment 12: Submit Final Mixes/Remixes and Summary Essay