Scratch below the surface of almost any producer, and they’ll tell you they’d love to find The One that can propel their artistry and careers to new heights.
No, they’re not talking about songwriters, vocalists, or A&R VP’s. The human resource many producers, mixers, and engineers crave the most is a manager. And as elusive as this goal may be for many hard-working studio pros, for others having a producer manager is a reality.
Peruse a partial list of audio achievers who have managers, and you’ll see a common thread of great creativity and platinum sales. Here’s just a few: Ron Anielo, Howard Benson, Steve Booker, Michael Brauer, James Brown, Chris Carmouche, Bob Clearmountain, Chris Coady, The Dust Brothers, Stephen Hague, Nic Hard, John Hill, John Holbrook, Trevor Horn, David Kahne, Kevin Killen, Holly Knight, Ryan Leslie, Chris Lord-Alge, Tom Lord-Alge, Lawrence Manchester, Paul Northfield, Paul Oakenfold, William Orbit, Hugh Padgham, GGGarth Richardson, Andros Rodriguez, Dan Romer, Jesse Rogg, Geoff Sanoff, Elliot Scheiner, Matt Shane, Chris Shaw, Trina Shoemaker, Sly and Robbie, Randy Staub, Tony Visconti, Andy Wallace, Josh Wilbur, Alex Wong, Brad Wood, and Emily Wright.
While having a manager is no guarantee of a multi-platinum career for a producer, mixer or engineer, there’s an undeniable connection between hits and the people in the above list, all of whom employ a manager. But can a producer manager actually get more – and better-paying – projects for their clients? And how does an emerging audio pro snag one of these desirable wingmen for themselves?
The most common expectation that audio pros have for hiring a manager is that their workload will increase significantly. Most managers see that as a primary function, but also point out that their job description has many diverse aspects which go far beyond that benefit.
New York-based music industry veteran Joe D’Ambrosio started his full-service management company 10 years ago, and has grown a roster that includes Tony Visconti, Hugh Padgham, Kevin Killen, Elliot Scheiner, Joe Zook, Larry Gold, Rob Mounsey, Jay Newland, Lawrence Manchester and many more producers, mixers, arrangers, songwriters and engineers.
“A manager really does three things,” D’Ambrosio says. “33% marketing you, 33% getting you work, and 33% getting you paid. That last one is quite important: You’d be surprised how many people, big and small, don’t get paid — or get paid in an untimely fashion.”
By removing his clients from discussing finances, D’Ambrosio explains, it allows them to focus solely on their craft. “The first thing I attempt to impress on the clients I represent is, ‘If you’re going to allow me the pleasure of representing you, you cannot talk about money. If people ask you how much to mix, tell them three words: Talk to Joe. He’s there to handle the business.’”
On the “gets-you-work” tip that D’Ambrosio lists, tuned-in producer managers can be a major asset in the current climate, where the plentiful major label projects that once kept everyone busy have slowed to a relative trickle. “The whole industry is smaller and more compact,” says Alia Fahlborg, Executive VP of Nettwerk Producer Management. “It used to be that if you were a producer, you didn’t have to worry about not getting the big pop or rock record, because there was plenty to go around. The challenge now is you have far more producers and mixers competing for less work, with smaller budgets than ever before.
“I’m always on my soap box saying that the producer is the next-most important person in the industry, besides the artist themselves,” continues Fahlborg, who counts Howard Benson, Bob Clearmountain, Chris Lord-Alge, Tom Lord-Alge, Mike Shipley, and Victor Van Vugt among her 21-client roster. “The rest of us are expendable, but the producers, mixers and engineers are the ones actually making the product that everyone else is selling. So their part in this whole thing is invaluable.”