Jessenia Colon's List: Mock Interview

• record producers have become just as illustrious as the musicians they work with
• Artists rely on producers’ creative expertise to craft the signature sound of an album or single; labels rely on their business savvy to ensure the record is completed on time, on budget, and with all samples cleared
• collaborate with the band to select songs for the album, whether written by the band or by another songwriter.
• may participate in the rehearsal process and may hire an arranger to add parts to some songs, or begin amassing beats and picking possible samples
• selects a studio, negotiates recording time, chooses an engineer, and enlists the services of session musicians and background vocalists where needed
• During the recording session, the record producer works closely with the recording engineer to perfect each track, decides when to do retakes, and adds his or her own trademark to the song
• The final mix of the album is under the supervision of the producer, and he or she makes decisions (in collaboration with the band and label) on the order of songs on the album and selection of singles
• the producer is still responsible for business matters like paying the studio and contract talent, providing receipts and expense reports to the label, securing release forms, and clearing samples
• Record producers may work as independent freelancers or on staff at a record label, under the supervision of the A&R director.
• no specific college requirement to work as a record producer, but most have extensive training in music theory, musicianship, and audio production
• A degree in recording arts is useful in gaining hands-on experience with mixing consoles, digital mastering, and outboard hardware
• Courses in music business are useful in understanding the processes of copyright, music publishing, and entertainment law
• Most producers have had experience as a recording engineer and/or musician
• A trained ear for music is crucial, as is the ability to aptly communicate your vision to your creative partners.
• must be creative, tech-savvy, and have a knack for business—a jack-of-all-trades
• Your career is based propelled or stunted by your last successful track and your reputation among musicians
• you should expect long hours and mounting stress as deadlines loom and the band can’t seem to hit the mark
• the producer must be best friend, teacher, and whip-cracker
• Be prepared to fight battles with the label, and know when to compromise
• no one wants to hire a producer who is difficult to work with

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• In live theatrical and stage entertainment, the producer is the individual who initiates the development of a show.
• fronting the cash or raising the necessary funds and is ultimately responsible for all aspects of development, including hiring the cast, crew, and other staff.
• he first step is to secure the rights to the production to be staged; that means licensing the play or musical from the publisher or striking a deal with a recording artist and his or her management to produce a concert
• the producer then hires a general manager to assist with planning a production schedule, establishing the budget, and hiring additional senior and creative staff.
• ook for a director, company manager, production or tour manager, and creative talent like a musical director and choreographer.
• the producer leads the design process for sets, costumes, lighting, and the other necessary technical element
• primary task is to facilitate the work of the creative staff and to oversee the business and logistical planning of the production.
• the producer and general manager are busy securing cast and other crew contracts, organizing a marketing campaign with the advertising firm, working out deals with ticket services, and pulling the appropriate permits and permissions associated with a resident performance venue or touring show
• monitor the build of sets, costumes, and other necessary elements
• ensure that the cast and crew are adhering to the budget and meeting established deadlines
• It is the producer’s job to mitigate hardships and see to the logistical concerns associated with a stage production.
• A producer should have a formal education in theatrical management, live show production, or related field. Courses in business administration, marketing, economics, and theatrical design are also encouraged.
• must understand the technical and creative process in order to accurately estimate costs, negotiate with vendors, and hire appropriate staff
• have a thorough understanding of the market in which the show will be produced, and be knowledgeable about the process of licensing creative properties
• Experience as a company manager, general manager, or another senior position is recommended.
• Most of the live event producer’s time is spent in negotiating contracts, communicating with vendors, and wrangling money
• must have business savvy, but also be a creative genius who can see moneymaking potential in a dream.
• The goal is to pick the best property, hire the most talented people, market the heck out of the show, and hope people like it
• This is a job for a risk-taker. 

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