FEATURE
a CD to listen to, whether it’s an entire album
or 10 tracks by different artists, you will get a
sense of their sound. Something should click
in you instinctively that says that this person
can do something for you.”
Be forewarned: quality isn’t cheap, but it will
benefit the outcome. “Recording in a professional studio is very expensive,” says Kulick.
“However, I believe that the end result of using
a real studio, if you have a gifted engineer and
a visionary producer, will give you amazing
results, if you have the budget. Not all studios
will break the bank, but make sure you know
whether it’s a day rate or an hour-by-hour rate,
so that you have everything lined up.
“If budget is a problem, you might consider
having them just do the two or three key
tracks of your record, the tracks that can make
a difference between the entire album being
popular or not,” he says. “We live in a singles
age, anyway, so those two or three key tracks
matter. Musicians always talk about whether
they’ve had a positive or negative experience
with someone, or why someone made a project special. That’s the reputation again. Also,
when you hire someone with that good reputation, they know how to bring in a good team
to make things great. This is a very competitive
business, so those things are important.”
On Time and in Tune
Whether you’re a platinum-selling artist or a
first-time client, a producer will expect you
to conduct yourself professionally. Some
Bruce Kulick at Stagg Studios recording BK3.
“E E/G E D C B”
Airline® ‘ 59 Custom
play his lick & win the guitar
“I get it”
for details go to www.eastwoodguitars.com
or call 905-702-8291
www.premierguitar.com
PREMIER GUITAR APRIL 2010 117
