VOCALISTNEWS.COM

Why do you sing?

Peggy Weston — Tue, 17 Jan 2012 20:53:52 GMT

It always interests me to learn why people like to sing? I've asked several people, now I am asking YOU!

What motivates you to sing?
Where do you sing?
How do you feel when you are singing?
Do you prefer to sing solo, or with in a group?
What genre of music do you enjoy singing most? Any reason why?

Just give it to me simple. Thanks!

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Manhattan Transfer Clinic Provides Soulful Harmony

Peggy Weston — Tue, 17 Jan 2012 20:43:37 GMT

In November 2011, the celebrated vocalese quartet Manhattan Transfer provided a vocal clinic, as part of the Jazz Master Class Series at the Kennedy Center, in Washington, D.C. I attended this ticketed event, in a rather intimate setting, which added to the afternoon experience. As my eyes swept the audience, I wondered about the attendees, and what motivated them to be present. Obviously, they were fans of Manhattan Transfer and jazz, but who, I wondered, were fellow vocalists or music educators? Some were student age, but the majority, I guessed were mid-thirties to seventies. Very attentive and responsive.

Manhattan Transfer consists of two men, Tim Hauser and Alan Paul, and two women, Janis Siegel and Cheryl Bentyne. The long history of this remarkable group, their awards, hits, and discography can be explored at www.manhattantransfer.net.

Vocalese is the style of music that arranges vocal music to earlier recorded jazz instrumental pieces.

A music clinic provides an opportunity for students to perform and be constructively critiqued by professional musicians or music educators. Within the clinic, professionals often work with individuals or groups on improving technique and performance skills. On this occasion, two vocal groups of college students performed a cappella on a raised platform stage, and were critiqued by members of Manhattan Transfer. One group was called Afro Blue from Howard University, whom you might have seen competing on the television show, The Sing Off. The larger group was The University of North Texas Jazz Singers, who made their debut on the Kennedy Center's Millennium Stage. All of the students, except one, were music majors in jazz studies.

Each group performed several selections, then joined together to perform Too Marvelous for Words. Manhattan Transfer members were very complimentary and supportive of the strengths of each group, certain individuals, the unique arrangements, and their conductors.

Comments included within Manhattan Transfer's excellent suggestions were: encouraging students to ‘look at each other (during some selections), because the connection is happening in the music, so look at each other and the energy will elevate’. Also, make the background vocals snap!

The perspective and valuable guidance from Manhattan Transfer, in both music and performance skills, was priceless for these young students. Janis concluded, saying “the future of jazz is in good hands.”

I especially enjoyed the amazing and clever arrangement titled The American Standards Medley, performed by The University of North Texas Jazz Singers. And, Afro Blues rendition of My Heart Stood Still, with a male student, John, playing, that is, singing the bass line as he mimes playing an upright bass. The performances were beautiful and polished.

An open Q&A was next on the program, and Manhattan Transfer responded with these comments.

What are the elements that you have found are most valuable in this vocal experience with Manhattan Transfer?

Janis answered, “Having a knowledge of the whole arrangement; a commonality in the emotion of the song when using dynamics; and a soulfulness.” Tim added, “hitting the groove, a rhythm in the groove.”

It was agreed that mastering the ‘subtleties of breathing and vibrato’ are extremely important in a small vocal ensemble. ‘Vibrato must be used sparingly in harmony singing, due to the challenges and the difficulty in matching vibratos,' Cheryl noted.

Part of the joy of singing in vocal groups is being aware of when the ‘harmony locks in; you feel it, you hear it.’ Work towards making ‘each chord ring’. When you sing, you are ‘solidifying changes with lyrics’.

Alan said, “imagine you are standing by yourself, I want you to be inside of the song, so what you are singing lyrically is being projected in your performance, in your personality.”

What is your creative process in learning a new song?

Members contributed to the mix, by saying, ‘First, we learn the rhythms, and the transitions of how it feels as a unit. A new song is learned “bar by bar”, 4 bars at a time. We rehearse a cappella, starting with the melody, adding each part. Then we polish dynamics; the syllables can have emotion which is expressed through the dynamics. The breathing is synchronized. Then we bring it to the band, and sing on microphones. The choice of materials, arrangements and the style of the songs is a group decision.’

Whether it was a young, aspiring vocalist, a music teacher, a seasoned performer, or a fan, I expect everyone attending this clinic learned valuable techniques about vocal music, performance and a dedication to one’s craft.

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Accompanying a Vocalist

Peggy Weston — Thu, 22 Sep 2011 19:13:25 GMT

Throughout my years of singing, I have experienced a wide variety of music accompanists with various instruments, music talent, personalities, and experience.

Music accompanying is a craft within itself. An accompanist may embrace your lyrics, some leave
you no space for phrasing and creativity; some are sensitive to your expression, others play too
loudly on everything, or are too reserved and lack passion and dynamics; some interact musically
with you, while others lead all of the time and assume you don't know musically what to do, or
think it's a competition and their egos shadow the music. It can be a wonderful, magical, loving,
creative experience, or just...okay, or painful to get through the gig. Like every vocalist, I have my
favorites for the right reasons, and they remain memorable. Some pushed me musically and I
stretched vocally and learned! Together we knew it was about the music in the moment.

Accomplished keyboard artist, Bill Boublitz, was asked 'what makes a good accompanist'?
Here is the perfect response.

“I usually laugh to myself because when asked ‘How do you accompany a vocalist?’
My answer is a simple one...

One Word; L-I-S-T-E-N. So simple, but how easy musicians forget.

To Listen is the key. All else flows from that. The task is to create, support and enhance dialog.
Music is a language. You can't engage in meaningful dialog if you're not listening. 'Talk' musically
with the vocalist. In other words, wait for the 'holes', the space between phrases. There is where
you play, and what you play needs to create, support and enhance the melodic line as well as the
color of the voice. Think in language. It may be chords or notes, but they function such that they can 'comment' on a previous phrase, 'ask a question' to set up the next phrase, on and on...
the analogies can flow forever.

Once you can establish this kind of dialog, it can grow to more complex levels, where you might
play under the phrase to support the curve or shape of the melodic line, even over the phrase
(higher in pitch). Once you've established a rhythmic syntax, you can then spread your concept
to other areas, like color. I might play dense block chords behind a robust alto, but those textures
would be out of place with a thin texture soprano voice. What you play all depends on the match,
the relationship, the dialog.

Anything is possible as long as you're listening. When the listening stops the music
(or lack thereof) becomes like listening to a noisy crowd in a restaurant. Everyone is in their
own world talking and it's hard to hear above the din.

Too many pianists are concerned with ego; being heard, showing off. There is no music there.
I'm reminded of a documentary I watched on Ella Fitzgerald's life, made shortly after her death.
They were interviewing Tommy Flanagan... no slouch there (!). Tommy could play enough notes
for Coltrane. But he was also one of the most reserved accompanists, playing only what was
needed, asked for by the music. He told this marvelous story about the first night he worked
behind Ella. He was young, all pumped up and excited for the opportunity. The first tune was
counted off and he just jumped right on it. He talked about how he played all his hottest ideas
and gave it everything to impress with each note. After the first tune was over, Ella turned
around and stared right at him. 'Well, if that's the way it's gonna' be, I'm quittin' this business!’,
she glared. The way Tommy told it was priceless. He said, 'That was my music lesson and
boy, did I ever get it together after that one.'

So.... Shhh...listen!"

Visit Bill Boublitz and his music. www.billboublitz.com

www.fivechimemusic.com

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Managing Performance Nerves

Peggy Weston — Thu, 22 Sep 2011 18:57:28 GMT

It is not unusual for a vocalist or speaker to be nervous in anticipation of, or during, a presentation of any kind. It is important to first recognize this fact, and feel comforted in knowing many people experience this feeling. How we cope with this challenge is the next step.

Whether you are a student with an upcoming class presentation, a sales executive, lawyer, an actor at an audition, or a singer stepping onstage before thousands, there are preparation steps and tools you can use to make the experience a positive one.

So much of singing and performance is mental. When I work with students on presentation, there are many valuable tools that I share with them. We discuss preparation: knowing their material real well, physical check list - rest, eating right, exercising, appropriate wardrobe, and those oh, so important vocal warmups, and breathing exercises to calm them, and help them engage in a rhythm within their speaking or singing. The depth of the discussion and exercises can be extensive depending on the previous experience and discipline of the individual.

Having some awareness of the venue setting, and where and when you will be onstage, is always helpful to know in advance in managing the unknown. Use visualization: picture yourself in that setting, see and hear your strong, successful performance. Recall and focus intensely on the best performances that you have had, how you felt, and go there within yourself to recapture the positive energy, and bring it to this performance.

When you step onto your mark to deliver your performance, you should focus on the purpose of you being there. What is the message you are seeking to share within your music, the lyric, or your presentation - acting role, or business pitch? That's what you focus on. Not your hair, your tight shoes, your sweaty palms, the little rivers of perspiration running down your valleys, or the person in the front row who is texting during your ballad.

One long, slow deep breath, and let them hear your message.

Confidence comes with experience. Each challenge is an opportunity to be creative. Each presentation is an opportunity to grow.

Give it as a gift.

~ Peggy Weston

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A Work in Progress about Singing

Peggy Weston — Thu, 14 Jul 2011 20:39:08 GMT

I am writing a book about singing, and look forward to the day I can tell you that it is published and launched!

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Big Wow and Thanks!

Peggy Weston — Sun, 03 Jul 2011 03:20:28 GMT

Many thanks for your comments! Happy to read that you are enjoying the blog. and value the information.

If you want to make a comment to be posted, just post as you have, I read everything and save most to be posted for all to see (some received are ads not related). Thanks! I really like to see your responses, and to share them with everyone.

I would like to hear from more of you who sing, WHY you enjoy singing. How do you feel when you are singing? What motivates you to sing? Do you sing with other people? How often? Would you prefer I create a survey?

SING!

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Bill Boublitz Group New CD ~ Takes On Life

Peggy Weston — Sat, 11 Jun 2011 01:06:45 GMT

I want to recommend an awesome music group ~ The Bill Boublitz Group. Bill is the composer, pianist, and producer of the group's premiere CD, Takes On Life. Check out www.fivechimemusic.com to hear excerpts from the CD, purchase a CD, and learn more about Bill Boublitz's history, credits, and his thoughts on music and its relationship to our lives...all are apparent within his music.

It was a privilege and great pleasure working with Bill for several years. I found him to be an excellent accompanist to a vocalist, which is a talent within itself. He is a versatile, gifted musician, an artist...from the inside out.

Congratulations Bill on your premiere CD! Let's share the news and music everyone!

Also visit news on Bill Boublitz at: www.reverbnation.com/billboublitz

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Peggy Weston — Thu, 26 May 2011 03:06:28 GMT

Some of you have asked how to subscribe to the blog. If you go to the bottom of the right column, you'll see the Subscribe box. Enter your email address and click on 'Subscribe'.

Let me know if you have any questions or comments. I review all entries.

Many thanks for your interest and support! Please continue to share the news!

Peggy

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Why do you like singing?

Peggy Weston — Sat, 14 May 2011 04:27:00 GMT

I would really enjoy knowing what singing means to you. Singing is delightfully addictive. Why do YOU like to sing? What kind of music do you like to sing?

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Kevyn Lettau ~ from the heart of a jazz singer

Peggy Weston — Sat, 14 May 2011 03:32:00 GMT

American jazz recording artist, Kevyn Lettau, has also worked as the department head of vocal studies at a private school in LA. She brings a diversity of experience in the performing arts to this discussion.

Kevyn Lettau: "I studied ballet and modern dance, but it was a difficult road and I started dance at an older age than most do. Singing was so soothing, healing, comforting. Singing saved my life. If I hadn't been a singer, I would have been a therapist."

PW: "How have you dealt emotionally with depending on singing for your income?"

KL: "Well, I have been really, really fortunate in that I love to teach, too, and I love to teach singing. And so, I supplemented my income with teaching singing. I am very fortunate that I have the ability to earn a living combined with singing and with teaching. Teaching is kind of an extension of singing. It's basically sharing my knowledge, what works and what doesn't work. When I was much younger I had that feeling, 'Oh my God, how am I going to earn a living doing this?' But I have been so lucky that I haven't had to deal with that at all."

PW: "When you are really beat with your schedule, or you don't feel your pipes are 'up to par', so to speak, how do you physically and mentally prepare yourself for your performance?"

KL: "Well, first of all I try to never to get myself so beat up that it gets to that point. I am very health conscious. When I am on the road I become quite the hermit. I'll go to sound check, do interviews, do the gig, meet and greet the audience and then I'll go back to the hotel. I'll shut-up, and then I don't talk again until sound checks or another warmup. I try to prevent that burnout that you are talking about."

PW: "You are very disciplined."

KL: "I am extremely, to the point of being boring." (she chuckles) "I really enjoy singing with a healthy instrument, so I do whatever I can to try and keep it that way all the times."

More from my interview with Kevyn Lettau in the future! Meanwhile check out her site www.kevynlettau.com

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It takes more than talent

Peggy Weston — Sat, 14 May 2011 03:25:00 GMT

Peggy Weston: “Mark, you have worked in the studio with many great artists. But, who really impressed you with the way they handled themselves, and why?”

Mark Hood: “Lots of people have amazing talent, and it’s awesome to be part of the team with them. But the ones that really stand out in my mind are the gifted stars that also have the knack of being appreciative of everyone else’s contributions to the project at hand. They function as team leaders with their talent shining a bright beacon, but they make room for the talents of others to augment their own. Then you can actually get a finished whole that is greater than the sum of its parts.”

PW: “Other than arriving on time for the session call, what is the sequence of events that a session vocalist should do before it is time to enter their designated studio and be aware that ‘time equals cost’ to the producer? (i.e. warm-up voice and body, use bathroom, turn off cell phone).”

MH: “The things you mention are exactly right, but I would add a discipline of mental attitude preparation: to open your mind to the range of possibilities in the session ahead. Will the song be wonderful? Can I sing it well? Will the producer be a great collaborator? etc.”

“I have two old boring proverbs that I like to bear in mind. First: success equals preparation plus opportunity. If you constantly practice and enlarge your skills, if you prepare yourself physically and mentally for the upcoming musical encounter, AND if said encounter is really a great song with a great producer, and it fits your skill set perfectly, then magic can happen. Any one element missing from this equation, ESPECIALLY your attitude preparation, can result in a missed opportunity.”

“And, the second saying is: if you want to get struck by lightning, you’ve got to go out in a lot of thunderstorms. I take it to mean this: staying at home guarantees that you will never participate in a wonderful studio session experience. But going into the studio may result in repeated disappointments, embarrassments, humiliations, failures, hurt feelings, etc., etc. So, you may have all these good reasons in your mind why you think all producers are insensitive, unmusical jerks and all engineers make you sound bad and so on, but unless you suck it up and go back out there and try some more, you have no chance of breaking through the prevailing weather and BANG! Hit a home run, sing on a hit, meet a producer that can’t wait to use on everything and tell all his friends about you. If you really want the chance, you must keep going back out there, and you must go back with a good attitude for the possibility of creating magical music.”

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Thank you to all of the visitors!

Peggy Weston — Sun, 20 Mar 2011 18:36:00 GMT

Hello,

It is wonderful and inspiring to read all of the incoming comments on the blog! Thank you! I will be responding individually to those of you who asked questions. I sincerely appreciate each and every one of the comments and suggestions. A few of you did not write in English, and I am sorry that I could not read those comments. Your interest has encouraged me to write more often, and I hope you will continue to enjoy the blog, and share it with friends!

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Fresh Start!

Peggy Weston — Wed, 27 Oct 2010 05:03:00 GMT

Although this blog hasn't offered anything new for a stretch of time, I have returned to make a fresh start. During the sabbatical, I have explored new territories of the heart, giving me a broader perspective of the benefits of singing. I will continue sharing interviews and information with you, but I would really like to hear from you about singing.

Aside from singing professionally, singing is a companion. I have found myself singing softly when puttering in the flower garden, walking my dog, or making breakfast. My neighbor amuses those within ear-shot with her loud singing while mowing, and the beauty of it is that she doesn't care, nor should she. She sings with total abandonment. I think that's great. She does have a pleasant voice, which of course, makes her sounds pleasant. But it's her spirit towards singing that invites a smile.

It has always pushed my buttons when I hear someone remark how they enjoy singing, but were told as a child by a parent or older sibling not to sing, because they were singing out-of-tune. And the majority I've met, have avoided singing since, self-conscious of their voices. That's a tragedy, to me. The development of the musical ear and control of pitch improves singing. Singing is such a natural way to express ourselves; it should always be encouraged for all types of occasions, and yes, it is a constant companion.

What do you think about this? When has singing proven to be a companion to you?

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Welcome to VocalistNews!

Peggy Weston — Wed, 27 Oct 2010 02:24:00 GMT

It is my desire that this will provide for serious vocalists - and those who want a glimpse into our world - an opportunity to learn and to share knowledge, experiences, and express your feelings about singing and vocal performance.

VocalistNews will provide interviews with notable vocalists, to include their valuable tips on vocal techniques and performance, recording studio and business guidelines, and in contrast explore the poetry and wonder of song.

What makes you want to sing? For me, it is like coming home. A unique joy is found in the creative process of singing. It touches the core of my soul. My spirit, my mind, my body are in rhythm, expressing and communicating. I feel like I've taken flight.

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Thomas Moser: an artist in tune with his craft

Peggy Weston — Thu, 10 Sep 2009 00:28:00 GMT

Thomas Moser, tenor, was principal Mozart singer at the Vienna State Opera during the late Seventies and Eighties. In 1988 he was awarded title of Viennese Kammersanger. Moser has performed opera and recitals from La Scala to the Salzburg Festival to the Metropolitan Opera. He has recently returned to the United States to pursue new projects.

Peggy Weston: "Tom, of all the things you might have considered doing with your life, why do you choose to sing? How do you deal with depending on something as fragile as singing to support yourself?"

Tom Moser: "Music was my 'language', and singing my 'dialect'. I had to sing in order to express myself. In order to be 'complete'. So, there was no choice. Of course, if it hadn't worked out, I would have found something else to do. But, as I did, I didn't have to cross that bridge!"

PW: "When you are 'beat' from your schedule or the 'pipes' are not up to par, how do you physically and mentally prepare yourself for your performance?"

TM: "There are certainly times when I am very fatigued from a heavy schedule. Then, there is no choice but to sacrifice private life and take the rest necessary to get through the rough spot. If the problem is illness, then one has to sense whether one can cope without the assistance of a physician. If not then one must get the necessary help. If the performance can be done with no great risk to the vocal apparatus, then one does one's best. If not, there is no choice but to cancel."

PW: "Do you have favorite vocal, breathing or performance warm-up exercises? Do they differ greatly from 'live' performances to recording studio?"

TM: "My 'warm-ups' are today the very same ones I received from my teacher almost thirty years ago. Nothing changes when one goes from the 'live' performance to the recording studio. Even if the result is a 'conserved' one, the performance before the mic was 'live'."

PW: "What musical education or particular training contributed most to your success and why?"

TM: "There is no part of my education which has become part and partial of my career as a vocalist. Strictly speaking, I suppose it would be the voice lessons with a Maestro who could offer me the benefit of forty years of his experience. Also, piano instruction with a fantastic lady who every utterance was a pearl of wisdom, and could be applied not only to piano, but to every other instrument, including the human voice."

PW: "Have you experienced singing other genres of music or have you always known which you would be focusing on and recording? What made you decide on your choice?"

TM: "I have sung musical, operetta and popular music, but my choice is opera and classical or 'serious music', because it best expresses me."

PW: "Name a vocalist(s) who influenced your vocal style, your musicianship, your performance style."

TM: "Nicolai Gedda, Franco Corelli, Mirella Freni, Martial Singher, Dietrich Fischer-Dieskau."

PW: "What qualities do you think are important for a vocalist to have to survive in the arts."

TM: "The qualities needed to survive as a vocal artist reads like a list of contradictions. One must be overly sensitive, but have the hide of an elephant. One must have the inner knowledge that one has something valuable to offer. Without the courage of his convictions, a singer can't survive the world in which he wishes to take a place. One must be able to take criticism, even when it injures, but be able to discern which criticism is valid, and which is not. I would say that one must have talent, but that is not necessarily synonymous with having a 'voice'. There are many wonderful voices which are never heard, and any number of great artists with less than great voices. It also is important to note that an artist must always perform to satisfy his own need to express himself. Only in this way can he hope to please or reach anyone else."

Vocalists! That last paragraph is gold to print out and post for guidance and inspiration!

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Be Smart: Learn the Laws of the Biz

Peggy Weston — Wed, 09 Sep 2009 01:35:00 GMT

During an interview with Eric Easter, Executive Director of Washington Area Lawyers for the Arts, Easter expressed WALA's desire to impress upon artists their need to receive legal training as part of their training in their craft.

WALA is a non-profit corporation serving as the primary legal resource for the creative community in MD-Washington DC-VA. Legal Services, resolution services, as well as entertainment and arts education programs are provided for members. Easter said, in 2002, that there are approximately twenty similar organizations to WALA in the United States. He suggested seeking them through the state Volunteer Lawyers for the Arts.

Artists need to educate themselves and develop business savvy to protect themselves from persons who may not have their best interest at heart. "Don't wait until someone hands you a contract to sign," Easter strongly stated, "get a third party to look at it, not your manager or agent." Anyone who can directly profit from your contract is not the one to consult with. "Seek legal advice," he said.

Easter advised that if an artist has made a recording, the artist should know who owns the rights to the recording, where the master is stored, who has copies and where they are kept, and inquire about distribution and intellectual properties?

He stated simply, "most things that happen to artists happen legally. You (the artist) just need to educate yourself before you enter a meeting." The way it plays is "the one who has the most money and is best prepared with information," he frankly remarked, "succeeds in getting what they want.

"But remember," Eric Easter added, "your talent has power. So don't underestimate yourself." They obviously are interested in what you have to offer. Do your homework.

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Studio Chat Behind the Glass with Mark Hood

Peggy Weston — Wed, 09 Sep 2009 00:33:00 GMT

If the recording studio is unknown territory for you as a vocalist, here is an interview that will give you great insight.

Mark Hood, of Echo Park Recording, has been a recording engineer and producer for thirty plus years. He has worked with many great and very talented artists including James Taylor, Bob Dylan, Bonnie Herman, Helen Merrill, Singers Unlimited, Ritchie Haven, Sandy Patti, John Mellencamp, and many others.

Peggy Weston: "What kind of music (or other) education and training is really necessary for a successful studio vocalist?"

Mark Hood:  "I strongly encourage every aspiring studio vocalist to practice every day on all the tools of the trade - excellent pitch, ease with rhythm and syncopation, sight-singing both pitches and rhythms, transposition, diction, support, breath control - all the things your teachers have been on you to pursue. It's wonderful when you begin to discover the style and genre that really suits you best and you can begin to find a unique identity as a performer, but so many vocalists stop practicing the basics at that point and just zero in on their particular 'schtik'. You can never be too in tune, or too in the groove or sight-read too well. Developing these skills will make you a better performer both inside and outside of your individual vocal style. And, of course, you need people skills. In the intense pressure of a session, it's easy to regress into frightened behavior or its opposite, arrogance. Give it a rest, just be an adult. The people on the other side of the glass are your co-collaborators in making a great musical moment. Trust them, even if they can't articulate clearly what it is they want from you (they may be regressing, too!) And trust yourself that your instincts are correct and that your talent and training have prepared you for this moment."

PW:   "Mark, vocalists often get a bad rap from 'educated' musicians who think generally vocalists are not decent musicians. Is this attitude often seen or heard a lot around the studios, or do you think the session singer is shown more respect, because it is demonstrated that she or he has studied music theory and sight-reading and can read well?"

MH:  "There may be some truth to your assertion that vocalists are not afforded the same respect as instrumental session musicians at times. I believe that some of this is due to producers and engineers not knowing how to pick the vocalist with the correct skills and style for the job at hand. But I also think that it is unfortunately true that vocalists are not generally as versatile and capable of sight-reading as some instrumentalists. I don't necessarily think that this indicates a lack of training or dedication on the part of the vocalists, it's just part of the nature of your instrument, and it's not entirely unique to vocalists."

"For example, when a producer hires a studio sax player, it is reasonable (in my opinion) that he be able to sight-read very rapidly, sound great in all ranges of the instrument, play other related instruments (other saxes, clarinets, flutes) with equal facility, be comfortable in jazz, rock, soul, and even classical styles, be able to sight-transpose into any key, improvise fluidly over chord changes, and play very in-tune and with excellent rhythm."

"When hiring a guitar player, however, it is much rarer that all of these features are available in every package. It is understood that great rock session guitarists may not necessarily read or play jazz."

"Thus it is with vocalists; producers need to hire carefully to find the artist that is most likely to have the tools required to fit the job."

PW: "Is there an unspoken professional etiquette that vocalists new to the studio really need to be aware of? What are the DO's and DON'T's?"

MH: "You must assume that the producer is acting in the best interests of the piece he is working on. If he/she is gruff, uncommunicative, contradictory, whatever, it's just because music is not an exact science, it's more like magic. Sometimes the logical choices and the logical approaches yield mediocre results, and that's not what producers are looking for. And, if the producer tells you that 'it's just not working', and they hire someone else for the part, don't let it give you a bad attitude towards producers, engineers or studio work in general. Give them the benefit of the doubt - that they have the ultimate best interest of their musical opus in mind. You must go on to your next session with an open mind and be mentally prepared to create magic on the next project."

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