Producing with Approach

My approach to producing is pretty basic.

I have several heroes that I've looked up to over the years and have tried to emulate. Producers such as David Foster, Don Was, Trevor Horn, Glen Ballard, Phil Ramone, John Leventhal. What a list. Hopefully I've gleaned a little from each of those guys. If you look at that list one thing should jump out - diversity. Each of those guys have done so many different kinds of records and worked with a huge range to artists that you can never peg them into one musical genre. I hope this to be my calling card as well. If you look at the last ten records I've done, they are almost all in different genres. I've been fortunate thus far to be able to adapt to the style of each individual artist and I truly enjoy the diversity that affords me.

To me it's more about getting in tune with the artist's "style" not me dictating what their style should be. Which leads me to my second point in my production approach.

My main goal as a producer is to always help the artist achieve their own musical style of "branding" so that when you hear their music you instantly identify that sound as that particular artist's "sound", and not a Paul Buono production. People do not buy records by looking to see who produced it. They buy only the sound and style of the artists they love. The biggest part that makes up the "sound" of the artist is obviously the vocals which is their most valuable and most identifiable asset. It's not the accompanying orchestration of production style though that's a vital element in the helping to package and deliver that artist's "sound". People still ultimate buy the voice not the guitar or drum sounds. That's why I place a huge emphasis on the vocals in my productions.

The final piece if the puzzle is last and not least the songs. I spend a lot of time in preproduction with the artist making sure that we record the right songs. This typically means writing twenty to thirty songs to find ten or twelve for a record. We all have our list of favorite songs of all time. People will always buy songs that they love, songs that move them emotionally. A great song can be produced a hundred different ways and still be great. Where as a bad or mediocre song will continue to be so even with the most spectacular production around it.

I'm not trying to underestimate the power of great production and I'll always strive to achieve that in my work. I' m just trying to refocus on the critical basic elements of all our favorite records. Great timeless songs sung by great artists with voices we love to listen to over and over again.

Hope this gives you a little insight into my head.

Paul Buono

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Producing with Approach