Production Philosophies

Tiny Production less is more
Tiny production, or minimalist production, has been around just long enough for it to be absorbed into other forms of music than pop. Tiny production reduces the amount of sound being output to the bare necessities. Typically production is thought as enhance by adding, but tiny production is enhancing by editing. By the nature of it's critical approach it is usually only used in music where the producer is significantly involved in the composition or has a large amount of power over the creative process. Tiny production works well when an element of the music needs to be emphasized, which is why it is so commonly heard in dance music. Some famous/infamous examples of tiny production are Gwen Stefani's first solo record, early synth pop, late 70's funk, early 80's disco, early punk, and Prince. Because the tiny production aesthetic is often used in style conscious music it is often disregard as cheap or temporary; however, the concept of less is more can significantly enhance any musical form. However, without tiny production we wouldn't know whose milk shake brings who to the yard, who is a super freak, or whose shit is bananas.

The Wall of Sound more is more
This is the most abused music production style. Some producers (Phil Spector, Brian Eno, Owen Morris, Kevin Shields, Flood) are able to do it very well. When used correctly it can create a fascinating aural experience that encompassing and engulfing. This ethic work best when added in with another production philosophy which will make sure that there is a strong core. Some of the best examples of works in which a wall of sound ethic were used come when the more is more producers is teamed with another more grounded producer or by a producer who is grounded with a strong understanding of drums (Daniel Lanois, Butch Vig, Gil Norton, Steve Albini). Because many of the bands who have adopted the wall of sound approach have become critically acclaimed (Pink Floyd) many musicians mistake lush ambient sounds as a way to creating music, instead of what was actually the case of adding lush and ambient effects to already good music to modify the results. When creating a wall of sound the most important thing to understand is what you're trying to enhance by addition. Once you know the focus you can know what you can blur. It's also important to know whether or not a band, or song will work with the production. Consider the Beatles Let it Be, an album many critics feel would have sounded better with a more succinct production ethic.

Wax On Wax Off you need a new philosophy
Then there is the you're close, but you just need a new outlook production ethic. Much like a sensei the producers imparts his wisdom over the big picture by modifying nuisance. From guitar tone to a new way of thinking this form of production can rejuvenate an established artists or bring success to an artists who is having problems make it to the next level. Some great examples of this are Quincy Jones, Glen Ballard, Steve Albini, and Rick Rubin. The risk with this form of production is that the producer must have a large amount of respect, and the artists must be accepting of change, in order for it to work. It's important for the producer to remind the artists consistently of what is good with what they're doing. In addition, artists that often work the best under this production ethic are also the ones who are the least responsive to change. It takes a very positive person to be able to pull this off.

The Bionic Band we can build you stronger

Then there is the concept of taking an already good idea and forcing musical perfection upon it by either highly critical recording expectations, lots of practice, significant arrangement shifts, or digital manipulation Examples of these producers are Martin Karl "Max Martin" Sandberg, Howard Benson, Terry Date, Butch Vig. This style of production is very rigorous and exacting. Often time spending most the time on the element which is most important to that producer (vocals in pop, drums in rock, horns in jazz, ect). Often because of the nature of expertise needed in shaping the sound these producers stick to just one genre.