It doesn't matter where a producer is. You can work with them without physically being with them, thanks to technology and the internet. Remote music production is not only a possibility but also happens quite often, especially in the last few years.
But what does remote production actually look like? As a music producer myself, let me tell you what the process usually looks like with my artists.
Whether you’re a producer looking to work with artists or you’re an artist looking to hire a remote producer, these steps will give you a clearer picture. This is, of course, not the only way to do things. But this is the process that works for me and may work for you.
How remote music production works
1. The artist sends an MP3 demo of their song
The demo could just be a voice memo recording. Sometimes the artist may want to record to a click track and with a decent microphone. As a producer, either option is fine with me, but recording the demo to a click track definitely makes the process go faster.
2. Find reference tracks
A reference track is a song(s) the artist wants their track to sound like. It may help guide the overall feel. Or maybe it’s the drums from one song, the organ from another, and the spaciousness of yet another. Either way, a reference track helps me as a producer capture the sound the artist wants.
However, don’t get too tied to the reference track(s). These are simply sources of inspiration, not something to try and copy. Also, you shouldn’t work with any more than 2 reference tracks. If you have too many, it can muddy the waters and make the direction more blurred.
3. Get producing
As the remote producer, I record everything on my end, unless there’s something the artist wants to record themselves. I take into account any initial notes the artist gave me as well as their reference track(s). So I record the guitars, bass, programmed drums, keys, banjo, and/or any virtual instruments that would fit.
4. Option 1: Send a draft to the artist
Once I have a solid instrumental that I think sounds like it’s heading in the right direction, I bounce the WAV and send it to the artist for feedback. I do this because I want to make sure I'm capturing what the artist hears in their head.
4. Option 2: Do remote recording
Instead of sending a draft, waiting for feedback, making adjustments, and then sending another draft, sometimes remote recording makes more sense.
There are programs that let the artist and producer hear high-quality audio directly from the producer’s DAW in real time. This way, the artist and producer can schedule a remote recording session so they can both pitch ideas and get immediate feedback.
5. Get the vocals
With remote production, the artist will need the ability to record vocals on their own. So once the artist has vibe-checked and okayed the instrumental, the artist records the vocals. All of my artists have the proper equipment to record vocals, and they often prefer to do it on their own.
But honestly, if an artist can only record vocals on their phone, we can make that work. Phone mics these days are very good.
Whatever the case, as the producer, I will give them guidance beforehand. The most important thing I tell my artists is to focus on the emotion of their voice, not so much hitting the exact notes because I can tune those afterward. I also ask the artist to give me several takes so we have options for comping the vocals.
6. Add the vocals, send a draft
After I add in the artist’s vocals (and do some light mixing), I send them a draft to make sure we’re both happy with the production and the vocal performance. After any adjustments the artist asks for, then it’s time for the mix, and the track is almost done.
7. Mix it
Finally, it’s time for the mixing stage. Using a reference track for mixing can also be very helpful, especially if the artist is going for a specific sound.
I usually only have to do one or two mixes before we nail down the final mix, but that can vary drastically depending on the artist.
From there, I will either master it, I’ll refer the artist to a mastering engineer, or I’ll suggest they use an automated mastering service like Mixea.
Tools that make remote music production easier
Here are a few tools that make the remote production process easier for both the artist and the producer…
High quality audio sharing software
If you want to do a real-time remote recording or mixing session, you’ll need a program that lets you share high-quality directly from the producer’s DAW. I use and love SonoBus, but some other solid options are out there too.
DISCO
DISCO is designed for musicians and music industry people. It’s a way to store and easily share music for streaming or download. You can add metadata, like lyrics, BPM, songwriter(s), mood, lyrical themes, and so much more. (For this reason, sync licensing agents and music supervisors say they prefer to receive music submissions via DISCO).
When I share drafts or final mixes with my artists, I upload the files to a DISCO playlist and then just send the link to them (and the links don’t expire!). Then the artist can stream it in their browser or download the WAVs/MP3s.
External hard drive
This is a must-have for producers. You have to back up all the mixes and stems just in case your computer conks out, or just in case an artist comes back at a later date and asks for the stems (which does happen).
It’s also a good idea for the artist to have an external hard drive so they can back up the final mixes and/or masters as well as the stems.
In addition to helping artists bring their creations to life, remote production is a great way to make some extra money as a musician. Whether you’re an aspiring producer or an artist, hopefully this post gives you a better idea of what remote production looks like!
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Caleb J. Murphy is a singer/songwriter whose music has been on NBC, ABC, and in hundreds of indie film projects. He also sends a twice-monthly email to indie musicians called 5 Things To Help You Keep Going.
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